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Song  :      Who  is  Silvia  ?  what  is  she  ? 

That  all  our  swains  commend  her  " 

The  Two  Gentlemen  of  Verona  Act  W  Scene  2 


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TWO   GENTLEMEN   OF  VERONA.      ^ 


Preface. 

The  First  Edition.  TJic  Tzvo  Gentlemen  of  Verona 
first  appeared  in  the  Folio  of  1623,  where  it  immediately 
follows  The  Tempest,  and  occupies  pp.  20-38;  no  evidence 
exists  for  an  earlier  edition.  A  list  of  the  Dramatis  Per- 
sonae,  "  The  Names  of  all  the  Actors,"  is  given  at  the 
end  of  the  play.  The  text  is  on  the  whole  free  from  cor- 
ruptions; the  most  remarkable  errors  occur  in  II.  v.  i; 
III.  i.  81 ;  v.  iv.  129;  where  '  Padua  '  and  '  Verona  '  are 
given  instead  of  '  Milan.'  These  inaccuracies  are  prob- 
ably due  tO'  Shakespeare's  MS.;  the  poet  had  evidently 
not  revised  this  play  as  carefully  as  his  other  early  ef- 
forts. 

Several  critics  are  inclined  to  attribute  the  final  scene 
to  another  hand;  it  bears  evident  signs  of  hasty  com- 
position, and  Valentine's  renunciation  comes  as  a  shock 
to  one's  sensibilities.  It  must  however  be  borne  in  mind 
that  the  theme  of  Friendship  versus  Love  was  not  un- 
common in  Elizabethan  literature;  perhaps  the  best  ex- 
ample is  to  be  found  in  the  plot  of  Lyly's  '  Campaspe,' 
where  Alexander  magnanimously  resigns  the  lady  to 
Apelles.  Shakespeare  in  his  Sonnets  XL.,  xli.,  xlii., 
makes  himself  enact  the  part  of  Valentine  to  his  Protean 
friend : — 

"  Take  all  my  loves,  my  love,  yea,  take  them  all ; 
What  hast  thou  then  more  than  thou  hadst  before? 
No  love,  my  love,  that  thou  mayst  true  love  call, 
All  mine  was  thine  before  thou  hadst  this  more." 


Preface  TWO  GENTLEMEN 

Date  of  Composition.  The  only  allusion  to  the  play 
previous  to  its  insertion  in  the  First  Folio  is  in  the  Pal- 
ladis  Tamia,  1598,  where  Meres  places  it  first  among  the 
six  comedies  mentioned.  Its  date  cannot  be  definitely 
fixed.  The  following  general  considerations  place  it 
among  the  earliest  of  Shakespeare's  productions,  i.e.  circa 
1590-1592: — the  symmetrical  arrangement  of  the  charac- 
ters; the  unnaturalness  of  some  of  its  incidents,  espe- 
cially the  abrupt  denouement;  the  finely  finished  regular- 
ity of  the  blank  verse,  suggestive  of  lyrical  rather  than 
of  dramatic  poetry,  and  recalling  the  thoughts  and  phra- 
seology of  the  sonnets  (I.  i.  45-50  and  Sonnets  lxx., 
xcv.;  IV.  iv.  161  and  Sonnet  cxxvii.);  the  alternate 
rhymes;  the  burlesque  doggerel;  the  quibbles;  and  the 
fondness  for  alHteration.  Many  *  notes  '  in  the  play  seem 
to  prelude  Romeo  and  Juliet^  and  the  influence  of  the 
story,  as  though  the  Poet  were  already  meditating  a 
drama  on  the  theme,  is  one  of  the  striking  characteristics 
of  the  play. 

Sources  of  the  Play.  The  greater  part  of  the  play 
seems  ultimately  derived  from  the  Story  of  the  Shep- 
herdess Filismena  in  the  Diana  of  Jorge  de  Montemayor 
(a  Portuguese  poet  and  novehst,  1 520-1 562).  Bartholo- 
mew Yonge's  translation  of  the  work,  though  published 
in  1598,  was  finished  some  sixteen  years  before  {cp. 
Shakespeare's  Library,  ed.  Hazlitt,  vol.  I.  part  i.).  There 
were  other  translations  of  the  whole  or  part  of  the 
romance  by  Thomas  Wilson  (1595-6)  and  by  "Edward 
Paston,  Esquire  "  (mentioned  by  Yonge). 

Probably  Shakespeare  was  not  directly  indebted  to 
Montemayor;  as  early  as  1584-5  a  play  was  acted  at 
Greenwich  ''  on  the  Sondaie  next  after  newe  yeares  dale 
at  night,"  entitled  The  History  of  Felix  and  Philiomena ; 
where  Felix  is  certainly  the  "  Don  Felix  "  of  the  Diana, 
and  "  Philiomena  "  is  a  scribal  error  for  "  Filismena." 
Shakespeare's  play  may  very  well  have  been  based  on 
this  earHer  production. 


OF  VERONA  Preface 

A  similar  theme,  with  a  tragic  denouement,  is  to  be 
found  in  the  Comcedia  von  Jidio  und  Hippolyta,  a  play 
acted  by  the  English  actors  in  Germany,  preserved  only 
in  a  German  paraphrase  (ep.  Schauspiele  der  englischen 
Kombdianten  in  Denschland,  ed.  J.  Tittmann ;  also,  Zu- 
pitza,  ''Shakespeare  Jahrhuch,"  xxiii.). 

Bandello's  Novel  of  Appolonius  and  Sylla,  which  was 
translated  by  Riche  (1581),  may  have  suggested  certain 
incidents  {cp.  Hazlitt's  Shakespeare s  Library,  Vol.  I.  part 
i.);  Sidney's  Arcadia  (Book  I.  ch.  vi.) — itself  greatly  in- 
debted to  Montemayor's  Diana,  Sidney's  favourite  book 
— may  possibly  be  the  original  of  Valentine's  consenting 
to  lead  the  robber-band,  and  the  speech  at  the  beginning 
of  the  scene  (V.  iv.)  in  praise  of  Solitude  may  also  have 
been  suggested  by  a  passage  in  the  same  book. 

The  Form  of  the  Play.  In  order  to  understand  the 
form  of  '  The  Tzvo  Gentlemen ' — probably  the  first  of 
Shakespeare's  plays  dealing  with  love-intrigue — the 
reader  must  remember  that  it  links  itself  to  the  pre- 
Shakespearian  romantic  dramas  based  on  Italian  love- 
stories;  but  these  earlier  dramas  are  rare.  The  best  ex- 
ample of  the  kind  extant  is  without  doubt  a  very  scarce 
production,  registered  in  the  books  of  the  Stationers' 
Company  1584  (and  printed  soon  after),  entitled  "  Fidele 
and  Fortune:  the  Receipts  in  Love  discoursed  in  a  Comedie 
of  ij  Italian  Gentlemen,  translated  into  English  "  by  A.  M., 
i.e.  probably  Anthony  Alunday).  This  crude  effort  may 
certainly  be  regarded  as  one  of  the  most  valuable  of  the 
prototypes  of  the  Shakespearian  romantic  plays ;  it  has 
hitherto  been  strangely  neglected  {cp.  Extracts,  printed 
by  Halliwell  in  his  ''  Illustrations  to  the  Literature  of  the 
sixteenth  and  seventeenth  centuries  "'^).  One  is  inclined 
to  think  that  Shakespeare  is  indebted  for  something 
more  than  the  title  of  his  first  love-play  to  "  The  Two 

*  Halliwell  printed  certain  scenes  in  order  to  Illustrate  the 
witchcraft  in  Macbeth  ;  it  is  remarkable  that  he  did  not  notice 
the  real  value  of  the  play. 


Preface  TWO  GENTLEMEN 

Italian  Gentlemen."  In  this  connection  it  is  perhaps  note- 
worthy that  Meres,  as  early  as  1598,  and  Kirkman,  as 
late  as  1661,  mention  Shakespeare's  play  as  *  The  Gentle- 
men of  Verona.'  This  was  perhaps  customary  in  order  to 
distinguish  it  from  Munday's  translated  drama. 

Forward-Links.  The  play  contains  many  hints  of  in- 
cidents and  characters  more  admirably  developed  in  later 
plays;  e.g.  the  scenes  between  Julia  and  her  maid  Lu- 
cetta  at  Verona  anticipate  the  similar  talk  between  Portia 
and  Nerissa  at  Belmont;  Julia's  disguise  makes  her  the 
first  of  Shakespeare's  best-beloved  heroines,  Portia,  Jes- 
sica, Rosalind,  Viola,  Imogen;   Valentine's  lament  (Act 

III.  sc.  i.  11.  170-187),  with  its  burden  of  "  banished,"  is 
heard  again  as  Romeo's  death-knell;  the  meeting  of 
Eglamour  and  Silvia  at  Friar  Patrick's  cell  suggests  the 
meeting-place  of  the  two  star-crossed  lovers  at  Friar 
Laurence's. 

Launcelot  Gobbo  owes  much  to  his  namesake  Launce, 
and  something  also  to  Speed,  whose  description  of  the 
various  signs  whereby  one  may  know  a  lover  finds  de- 
velopment in  the  character  of  Benedick. 

Duration  of  Time.  The  Time  covered  is  seven  days 
on  the  stage,  with  intervals  between  scenes  and  acts: — 
Day  i:  Act  i.  sc.  i.  and  ii. ;  interval  of  a  month  or  per- 
haps sixteen  months  (cp.  iv.  1-21).  Day  2:  Act  I.  sc.  iii. 
and  Act  II.  sc.  i.  Day  3:  Act  II.  sc.  ii.  and  iii.;  interval, 
Proteus's  journey  to  Milan.  Day  4:  Act  II.  sc.  iv.  and 
v.;  interval  of  a  few  days.  Day  5:  Act  II.  sc.  vi.  and  vii.. 
Act  III.  and  Act  IV.  sc.  i. ;  interval,  including  Julia's 
Journey  to  Milan.     Day  6:  Act  IV.  sc.  ii.     Day  7:  Act 

IV.  sc.  iii.  and  iv.  and  Act  V.  (ep.  Daniel,  New  Shake- 
speare Society's  Transactions ,  1877-79). 


OF  VERONA 


Critical  Comments, 


Argument. 

I,  Valentine  and  Proteus,  two  gentlemen  of  Verona, 
are  intimate  friends  accustomed  to  telling  their  hearts' 
secrets  freely,  the  one  to  the  other.  Valentine  goes  to 
the  court  of  Milan  to  gain  worldly  experience  and  honour. 
Proteus,  for  love  of  a  Veronese  maiden  named  JuHa, 
would  fain  stay  at  home;  but  his  father,  ignorant  of  the 
love  affair,  and  desirous  that  his  son  shall  see  something 
of  the  world,  sends  him  to  join  Valentine  at  Milan. 

II,  Silvia,  the  daughter  of  the  Duke  of  Milan,  has 
many  suitors.  No  sooner  does  Valentine  see  her  than  he 
becomes  one  of  the  number;  but  he  is  more  fortunate  than 
the  rest,  for  Silvia  favours  him.  The  Duke,  however,  has 
chosen  another  for  his  daughter's  husband.  Valentine 
and  Silvia  plan  to  elope.  At  this  juncture  Proteus  ar- 
rives from  Verona,  after  having  exchanged  vows  there 
with  Julia.  Valentine  introduces  Proteus  to  Silvia,  con- 
fides to  him  the  secret  of  their  proposed  clandestine  mar- 
riage, and  asks  his  assistance.  Proteus  promises  it,  but 
inwardly  resolves  to  play  his  friend  false,  and  try  to  win 
Silvia  for  himself.  His  neglected  love,  JuHa,  hearing  no 
tidings  of  him,  decides  to  don  boy's  garments,  and  go  to 
Milan  in  search  of  him. 

III,  Proteus  foils  his  friend's  schemes  by  informing 
the  Duke  of  the  lovers'  projected  flight.  The  Duke 
banishes  Valentine  from  his  realm.     Thurio,  the  suitor 


Comments  TWO  GENTLEMEN 

chosen  by  the  Duke,  does  not  prosper  in  his  wooing,  and 
therefore  asks  Proteus  to  aid  him. 

IV.  The  banished  Valentine  flees  to  a  forest  near 
Milan,  where  he  falls  into  the  hands  of  outlaws,  who, 
pleased  by  his  address,  make  him  their  chief. 

In  Milan,  Proteus  plays  false  with  Thurio  just  as  he 
had  done  with  Valentine.  Under  guise  of  fostering 
Thurio's  suit  he  pleads  his  own  cause  to  Silvia,  who 
scorns  him.  Julia  arrives  dressed  as  a  page,  and  secures 
employment  with  Proteus,  who  does  not  recognize  her. 
She  soon  has  opportunity  to  discover  her  lover's  perfidy, 
since  he  sends  her  to  Silvia  with  a  ring  that  was  Julia's 
own  love-token  to  him. 

V.  Silvia  escapes  to  the  forest  in  search  of  Valen- 
tine, but  is  seized  by  some  of  the  outlaws  of  her  lover's 
band.  Before  they  can  bring  her  to  his  presence,  she 
is  rescued  by  Proteus,  who,  however,  tries  to  take  ad- 
vantage of  the  occasion  and  compel  her  to  yield  to  his 
love.  Valentine  overhears  his  false  friend  and  liberates 
Silvia,  at  the  same  time  reproaching  Proteus  so  sternly 
that  the  latter  is  stricken  with  remorse,  and  humbly  begs 
forgiveness.  The  generous  Valentine  accords  it.  The 
identity  of  Julia  is  discovered,  and  she  is  united  with  her 
repentant  lover. 

Meantime  the  Duke,  who  had  gone  also  to  the  forest 
in  search  of  Silvia,  is  captured  by  others  of  Valentine's 
outlaws.  Valentine  releases  him;  and  the  Duke  pardons 
all  the  band,  permits  them  to  resume  the  rights  of  citizen- 
ship, and  consents  to  the  nuptials  of  Silvia  and  Valentine. 
McSpadden  :  Shakespearian  Synopses. 

II. 

Proteus. 

There  is  the  principal  agent,  Proteus;  a  man  who 
"  suns  himself  "  in  the  esteem  and  confidence  of  all  his 
acquaintance,  is  the  early  and  bosom-friend  of  Valentine, 

6 


OF  VERONA  Comments 

is  trusted  (and  to  all  appearance  deservedly  so)  by  his 
mistress,  Julia.  He  leaves  her  with  the  sincerest  vows 
of  constancy;  and  the  moment  he  beholds  the  mistress 
of  his  friend,  he  not  only  becomes  enamoured  of  her, 
but,  with  a  wantonness  of  treachery,  turns  low,  scoundrel 
informer  to  her  father  of  their  projected  elopement. 
This  not  being  enough  to  fill  the  measure  of  his  villany, 
at  the  instance  of  that  father  he  actually  consents  to 
become  the  calumniator  of  his  unoffending  friend  to  his 
friend's  mistress,  and  afterwards  to  woo  her  for  the 
pantaloon  lover,  Thurio;  an  office  which  he  nevertheless 
endeavours  to  convert  to  his  own  advantage.  He  next 
sends  his  own  mistress's  love-pledge,  and  by  herself 
(disguised,  however,  as  his  page)  to  her  rival;  and,  im- 
mediately after,  attempts  the  greatest  crime  that  man 
can  perpetrate  towards  woman — against  that  same 
woman,  too,  whom  he  has  vainly  endeavoured  to  seduce 
from  his  friend;  and  when,  in  the  sequel,  he  reads  his 
repentance  in  four  lines,  he  is  at  once  accepted  in  tzvo 
lines  by  the  man  he  had  so  injured — who,  with  unique 
and  amusing  simplicity,  says:  "Then  I  am  paid,  and 
once  again  I  do  receive  thee  honest."  But,  to  crown  all, 
his  mistress,  Julia,  congratulates  herself  upon  having  re- 
deemed such  a  lover!  All  these  confoundings  of  the 
probabilities  of  event  may  be  excused  in  a  story  of  high 
romance;  but  where  there  is  any  profession  of  human 
passion,  we  must  look  to  have  some  regard  to  the  con- 
comitant mystery  of  human  nature  in  the  abstract. 
Now,  Proteus  is,  confessedly,  a  solid  scoundrel;  and, 
what  is  worse,  he  is  a  mean  scoundrel. 
Charles  Cowden  Clarke:  Shakespeare  Characters. 

III. 

Valentine. 

The  character  of  Valentine  is  compounded  of  some 
of  the  elements  that  we  find  in  Romeo;   for  the  strong 


Comments  TWO  GENTLEMEN 

impulses  of  both  these  lovers  are  as  much  opposed  as  it 
is  possible  to  the  subtle  devices  of  Proteus.  The  con- 
fiding Valentine  goes  to  his  banishment  with  the  cold 
comfort  that  Proteus  gives  him : — 

"Hope  is  a  lover's  staff;    walk  hence  with  that." 

He  is  compelled  to  join  the  outlaws,  but  he  makes  con- 
ditions with  them  that  exhibit  the  goodness  of  his  nature; 
and  we  hear  no  more  of  him  till  the  catastrophe,  when 
his  traitorous  friend  is  forgiven  with  the  same  confiding 
generosity  that  has  governed  all  his  intercourse  with 
him.  We  have  little  doubt  of  the  corruption,  or,  at  any 
rate,  of  the  tmfinished  nature,  of  the  passage  in  which  he 
is  made  to  give  up  Silvia  to  his  false  friend — for  that 
would  be  entirely  inconsistent  with  the  ardent  character 
of  his  love,  and  an  act  of  injustice  towards  Julia,  which 
he  could  not  commit.  But  it  is  perfectly  natural  and 
probable  that  he  should  receive  Proteus  again  into  his 
confidence,  upon  his  declaration  of  "  hearty  sorrow,"  and 
that  he  should  do  so  upon  principle : — 

"  Who  by  repentance  is  not  satisfied 
Is  nor  of  heaven  nor  earth." 

It  is,  to  our  minds,  quite  dehghtful  to  find  in  this,  which 
we  consider  amongst  the  earliest  of  Shakspere's  plays, 
that  exhibition  of  the  real  Christian  spirit  of  charity 
which,  more  or  less,  pervades  all  his  writings ;  but  which, 
more  than  any  other  quality,  has  made  some  persons, 
who  deem  their  own  morality  as  of  a  higher  and  purer 
order,  cry  out  against  them,  as  giving  encouragement  to 
evil-doers.     .     .     . 

The  generous,  confiding,  courageous,  and  forgiving 
spirit  of  Valentine  is  well  appreciated  by  the  Duke — 
''  Thou  art  a  gentleman."  In  this  praise  are  included 
all  the  virtues  which  Shakspere  desired  to  represent  in 
the  character  of  Valentine;  the  absence  of  which  virtues 
he  has  also  indicated  in  the  selfish  Proteus,    The  Duke 

8 


OF  VERONA  Comments 

adds,  "  and  well  derived."  "  Thou  art  a  gentleman  "  in 
"thy  spirit" — a  gentleman  in  ''thy  unrivalled  merit"; 
and  thou  hast  the  honours  of  ancestry — the  further  ad- 
vantage of  honourable  progenitors.  This  line,  in  one  of 
Shakspere's  earliest  plays,  is  a  key  to  some  of  his  per- 
sonal feelings.  He  was  himself  a  true  gentleman,  though 
the  child  of  humble  parents.  His  exquisite  delineations 
of  the  female  character  establish  the  surpassing  refine- 
ment and  purity  of  his  mind  in  relation  to  women;  and 
thus,  if  there  w^ere  no  other  evidence  of  the  son  of  the 
wool-stapler  of  Stratford  being  a  "  gentleman,"  this  one 
prime  feature  of  the  character  would  be  his  most  pre- 
eminently. Well  then  might  he,  looking  to  himself,  as- 
sert the  principle  that  rank  and  ancestry  are  additions 
to  the  character  of  the  gentleman,  but  not  indispensable 
component  parts.  "  Thou  art  a  gentleman,  and  well  de- 
rived." 

Knight  :  Pictorial  Shakspere, 

IV. 

Julia. 

Julia,  seeking  out  and  attending  her  faithless  lover  in 
the  disguise  of  a  page,  and  even  making  herself  servant 
to  his  infidelity,  is  one  of  those  exhibitions  of  female 
purity,  sweetness,  and  devotion,  wherein  Shakespeare  so 
far  excels  all  other  writers.  Her  innocence  and  gentle- 
ness are  but  the  more  apparent  for  the  chill,  rough  at- 
mosphere that  threatens  them;  the  Poet,  here  as  else- 
where, multiplying  the  difficulties  of  the  situation,  the 
better  to  approve  the  beauty  of  the  character.  Perhaps 
the  best  excuse  for  her  undertaking  is,  that  she  never 
dreams  but  her  lover's  heart  is  as  far  from  fraud  as  her 
own,  till  she  finds  him  with  proofs  to  the  contrary  on  his 
tongue.  Julia,  however,  is  little  else  than  a  dim  fore- 
shadowing of  Imogen:  we  might  almost  call  them  the 
same    person,  now    seen    before,    now    after    marriage; 


Comments  TWO  GENTLEMEN 

though,  in  the  latter  case,  by  a  much  clearer  light.  Per- 
haps, withal,  Imogen  has  both  more  rectitude  of  thought 
and  more  delicacy  of  feeling,  than  to  set  forth  on  such 
an  adventure  with  so  little  cause:  for  Julia  has  no  perse- 
cution at  home  to  drive  her  away,  and  her  love  seems 
rather  unwise  in  not  bearing  the  absence  of  its  object, 
this  being  so  manifestly  for  his  good. 

Hudson:  The  Works  of  Shakespeare, 

V. 

Silvia. 

Silvia,  "  hard  beset  "  with  lovers  in  her  father's  court, 
though  she  gives  proof  not  to  be  excepted  against  that 
she  loves  V^alentine,  betrays  not  the  less  a  tinge  of  the 
temper  of  her  wooer  Proteus.  It  must  be  said  without  dis- 
guise, that  it  was  not  absolutely  necessary  for  her  to  give 
her  picture  to  Proteus  while  she  was  upbraiding  him  w^ith 
falsehood  to  his  friend  and  to  a  former  love;  and  if  the 
act  was  not  falsehood  on  her  part  towards  Valentine,  it 
was  dangerous  coquetry  towards  Proteus,  and  goes  far 
to  account  for  the  interpretation  he  evidently  put  upon 
her  coyness,  when  he  had  added  the  service  of  rescue 
from  the  robbers  to  former  fervent  protestations.  Her 
bitter  upbraidings  are  phenomena  that  Homer  and  Paris 
Alexander  knew,  and  Proteus  may  therefore  not  unnat- 
urally have  thought,  to  be  far  less  sincere  than  they  may 
sometimes  have  sounded;  and  Valentine  himself  who 
unseen  was  looking  on  and  listening  at  the  scene,  may 
have  had  his  own  apprehensions  too,  and  interfered,  it 
may  be,  to  rescue  Silvia  scarcely  more  from  Proteus 
than  from  herself.  Thus  may  be,  but  only  thus  can  be 
accounted  for,  the  remainder  of  the  scene;  thus  the  more 
than  Christian  eagerness  of  pardon  with  which  Valentine 
overwhelms  the  abashed  Proteus,  and  the  alacrity  of  his 
renunciation  of  all  previous  rights  in  the  blushing  damsel 

10 


OF  VERONA  Comments 

who  has  no  word  of  recognition  or  gratitude  to  greet 
him  with,  but  is  tongue-tied  to  the  end. 

"  And  that  my  love  may  appear  plain  and  free, 
All  that  was  mine  in  Silvia  I  give  thee." 

Lloyd:  Critical  Essays  on  the  Plays  of  Shakespeare. 

VI. 

Speed  and  Launce. 

While  Speed  impresses  us  chiefly  by  his  astonishing 
volubility,  the  true  English  humour  makes  its  entrance 
upon  the  Shakespearian  stage  when  Launce  appears, 
dragging  his  dog  by  a  string. 

Note  the  torrent  of  eloquence  in  this  speech  of  Speed's, 
enumerating  the  symptoms  from  which  he  concludes  that 
his  master  is  in  love: — 

"  First,  3'ou  have  learn'd,  like  Sir  Proteus,  to  wreath  your  arms 
like  a  malcontent ;  to  relish  a  love-song,  like  a  robin-redbreast ;  to 
walk  alone,  like  one  that  had  the  pestilence;  to  sigh,  like  a  school- 
boy that  had  lost  his  A  B  C ;  to  weep,  like  a  young  wench  that 
had  buried  her  grandam ;  to  fast,  like  one  that  takes  diet ;  to 
watch,  like  one  that  fears  robbing;  to  speak  puling,  like  a  beggar 
at  Hallowmas.  You  were  wont,  when  you  laugh'd,  to  crow  like 
a  cock ;  when  you  walk'd,  to  walk  like  one  of  the  lions ;  when  you 
fasted,  it  was  presently  after  dinner ;  when  you  look'd  sadly,  it 
was  for  want  of  money;  and  now  you  are  metamorphosed  with  a 
mistress,  that,  when  I  look  on  you,  I  can  hardly  think  you  my 
master." 

All  these  similes  of  Speed's  are  apt  and  accurate;  it  is 
only  the  way  in  which  he  piles  them  up  that  makes  us 
laugh.  But  when  Launce  opens  his  mouth,  unbridled 
whimsicality  at  once  takes  the  upper  hand.  He  comes 
upon  the  scene  with  his  dog: — 

"Nay.  'twill  be  this  hour  ere  I  have  done  weeping;  all  the  kind 
of  the  Launces  have  this  very  fault.     ...     I  think  Crab,  my 

II 


Comments  TWO  GENTLEMEN 

dog,  be  the  sourest-natured  dog  that  lives :  my  mother  weeping, 
my  father  wailing,  my  sister  crying,  our  maid  howling,  our  cat 
wringing  her  hands,  and  all  our  house  in  a  great  perplexity,  yet 
did  not  this  cruel-hearted  cur  shed  one  tear.  He  is  a  stone,  a 
■very  pebble-stone,  and  has  no  more  pity  in  him  than  a  dog;  a 
Jew  would  have  wept  to  have  seen  our  parting:  why,  my  gran- 
dam,  having  no  eyes,  look  you,  wept  herself  blind  at  my  parting. 
Nay,  I'll  show  you  the  manner  of  it.  This  shoe  is  my  father  :^ 
no,  this  left  shoe  is  my  father ; — no,  no,  this  left  shoe  is  my 
mother; — nay,  that  cannot  be  so,  neither: — ^yes,  it  is  so,  it  is  so; 
it  hath  the  worser  sole.  This  shoe,  with  the  hole  in  it,  is  my 
mother,  and  this  my  father.  A  vengeance  on  't !  there  't  is  :  now, 
sir,  this  staff  is  my  sister ;  for,  look  you,  she  is  as  white  as  a  lily, 
and  as  small  as  a  wand:  this  hat  is  Nan,  our  maid:  I  am  the 
dog ; — no,  the  dog  is  himself,  and  I  am  the  dog, — O  !  the  dog  is 
me,  and  I  am  myself:   ay,  so,  so." 

Here  we  have  nothing  but  joyous  nonsense,  and  yet 
nonsense  of  a  highly  dramatic  nature.  That  is  to  say, 
here  reigns  that  youthful  exuberance  of  spirit  which 
laughs  with  a  childlike  grace,  even  where  it  condescends 
to  the  petty  and  low;  exuberance  as  of  one  who  glories 
in  the  very  fact  of  existence,  and  rejoices  to  feel  life 
pulsing  and  seething  in  his  veins;  exuberance  such  as 
belongs  of  right,  in  some  degree,  to  every  well-consti- 
tuted man  in  the  light-hearted  days  of  his  youth — how 
much  more,  then,  to  one  who  possesses  the  double  youth 
of  years  and  genius  among  a  people  which  is  itself  young, 
and  more  than  young:  liberated,  emancipated,  enfran- 
chised, like  a  colt  which  has  broken  its  tether  and  scam- 
pers at  large  through  the  luxuriant  pastures. 

~         ~  Braxdes:  IV ill iam  Shakespeare. 


What  shall  we  say  to  Launce  and  his  dog?  Is  it  prob- 
able that  even  such  a  fool  as  Launce  should  have  put  his 
feet  into  the  stocks  for  the  puddings  which  his  dog  had 
stolen,  or  poked  his  head  through  the  pillory  for  the 
murder  of  geese  which  the  same  dog  had  killed? — yet 


OF  VERONA  Comments 

the  ungrateful  cur  never  denies  one  item  of  the  facts 
with  which  Launce  so  tenderly  reproaches  him.  Nay, 
what  is  more  wonderful,  this  enormous  outrage  on  the 
probable  excites  our  common  risibility.  What  an  un- 
conscionable empire  over  our  fanciful  faith  is  assumed 
by  those  comic  geniuses!  They  despise  the  very  word 
probability.  Only  think  of  Smollett  making  us  laugh 
at  the  unlikely  speech  of  Pipes,  spoken  to  Commodore 
Trunnion  down-  a  chimney — '*  Commodore  Trunnion, 
get  up  and  be  spliced,  or  He  still  and  be  damned!  "  And. 
think  also  of  Swift  amusing  us  with  contrasted  descrip- 
tions of  men  six  inches  and  sixty  feet  high — how  very 
improbable! 

At  the  same  time,  something  may  be  urged  on  the 
opposite  side  of  the  question.  A  fastidious  sense  of  the 
improbable  would  be  sometimes  a  nuisance  in  comic 
fiction.  One  sees  dramatic  critics  often  trying  the  prob- 
abilities of  incidents  in  a  play,  as  if  they  were  testing  the 
evidence  of  facts  at  the  Old-Bailey.  Now,  unquestion- 
ably, at  that  august  court,  when  it  is  a  question  whether 
a  culprit  shall  be  spared,  or  whipped  and  transported  for 
life,  probabilities  should  be  sifted  with  a  merciful  leaning 
towards  the  side  of  doubt.  But  the  theatre  is  not  the 
Old-Bailey,  and  as  we  go  to  the  former  place  for  amuse- 
ment, we  open  our  hearts  to  whatever  may  most  amuse 
us;  nor  do  we  thank  the  critic  who,  by  his  Old-Bailey- 
like pleadings,  would  disenchant  our  belief.  The  imagi- 
nation is  a  liberal  creditor  of  its  faith  as  to  incidents, 
when  the  poet  can  either  touch  our  affections,  or  tickle 
our  ridicule. 

Nay,  we  must  not  overlook  an  important  truth  in  this 
subject.  The  poet  or  the  fictionist — and  every  great  fic- 
tionist  is  a  true  poet — gives  us  an  image  of  life  at  large, 
and  not  of  the  narrow  and  stinted  probabilities  of  every- 
day life.  But  real  life  teems  with  events  which,  unless  we 
knew  them  to  have  actually  happened,  would  seem  to  be 
next  to  impossibilities.  So  that  if  you  chain  down  the 
poet  from  representing  everything  that  may  seem  in  dry 

13 


Comments  TWO  GENTLEMEN 

reasoning  to  be  improbable,  you  will  make  his  fiction 
cease  to  be  a  probable  picture  of  Nature. 

Campbell. 

VII. 

The  Play  as  a  Whole. 

Love,  in  its  double  form  of  sexual  love  and  friendship, 
is  evidently  the  basis  of  the  whole,  the  leading  centre  of 
the  action.  To  represent  this  foundation  in  its  uncer- 
tainty and  instability — in  other  words,  to  describe  it  within 
the  comic  view  of  life,  in  contradiction  with  its  true  na- 
ture, is  manifestly  the  purport  and  tendency  of  the  play; 
this  is,  however,  too  seriously  and  strongly  emphasized, 
and  thus  the  representation  loses  in  comic  power.  Love 
is  here,  accordingly,  represented  in  the  most  diversi- 
fied forms,  but  invariably  weak  and  frail,  fooHsh  and 
perverse.  The  centre  is  formed  by  the  passion  of  Pro- 
teus for  Julia,  his  double  faithlessness  and  his  equally 
sudden  conversion ;  a  look  from  Silvia,  her  mere  ap- 
pearance, makes  him  forget  the  one  for  whom  he  has 
just  been  sighing,  and  for  whose  absence  tears  are  still 
lingering  in  his  eyes;  a  look  from  her  makes  him  a  traitor 
to  his  best  and  oldest  friend,  and  also  makes  him  de- 
ceive the  Duke  and  the  latter's  favourite,  Thurio.  In 
fact,  he  is  the  impersonation  of  the  faithlessness  of  love. 
In  contrast  to  him  we  have  Julia;  she  is  exhibited  at 
first  in  the  capricious  self-will  of  a  girl  in  love,  but  coy, 
who  will  not  accept  her  lover's  letter,  and  yet  chides 
her  maid  that  the  latter  has  not  forced  her  to  read  it; 
she  tears  it  to  pieces  before  she  has  opened  it,  but  after- 
wards gathers  up  the  fragments  in  order  to  try  and  spell 
out  the  contents.  Suddenly,  however,  this  coyness  is 
quite  forgotten,  nay,  turns  into  its  opposite,  for,  cast- 
ing aside  all  girlish  shyness,  she  dresses  herself  in  man's 
attire  and  sets  out  after  her  faithless  lover,  acts  as  his 
messenger  in  carrying  love-letters  to  Silvia,  and  finally, 

14 


OF  VERONA  Comments 

after  enduring  all  this  mortification,  again  throws  herself 
into  his  arms.  A  greater  amount  of  constancy  is  ex- 
hibited in  the  other  couple,  Valentine  and  Silvia;  they 
remain  true  to  one  another  in  spite  of  all  obstacles,  suf- 
ferings and  adversities,  and  yet  Valentine  is  capable  of 
giving  up  his  beloved — for  whose  sake  he  has  done  and 
suffered  so  much,  and  whom  he  intended  to  carry  off 
from  her  father's  house — in  favour  of  his  treacherous 
and  only  half-repentant  friend,  although  the  latter,  on 
account  of  Silvia's  aversion  to  him,  could  in  no  way  be 
a  gainer  by  his  sacrifice.  Thurio,  lastly,  is  a  lover  of 
the  commonest  type,  a  wealthy  blockhead,  more  inter- 
ested in  the  father  as  a  duke  than  in  the  daughter,  and 
who  resembles  his  more  gifted  rivals  only  in  so  far  as  he 
likewise  does  not  know  his  own  mind — continuing  to 
make  love  although  he  is  rejected  with  scorn  and  con- 
tempt, and  in  the  end  retiring  because  he  is  rejected  with 
scorn  and  contempt.  This  fickle,  inconstant  and  contra- 
dictory form  of  love  is  worthily  associated  with  the 
Duke's  peculiar  paternal  affection  for  his  daughter;  here 
also  we  have  a  high  degree  of  delusion  and  inconsistency. 
After  having  at  first  purposed  to  force  his  daughter's 
inclinations  in  favour  of  a  repulsive  old  noodle,  he  at 
last  consents  to  give  her  to  a  robber  chieftain  whom — 
as  an  honourable  knight — he  had  rejected.  But  the 
delicious  folly  reaches  its  climax  in  the  person  of  the 
inimitable  Launce,  one  of  those  thoroughly  comic  char- 
acters whose  true  nature  Shakespeare  alone  can  de- 
scribe. Launce,  who  for  weeping  and  wailing  can 
scarcely  leave  his  father's  house,  whose  tears  would  fill 
the  river  were  it  dry,  and  whose  sighs,  ''  w^ere  the  wind 
down,"  would  drive  on  the  boat  that  is  carrying  him 
away  from  his  home — it  is  he  who  allows  himself  to  be 
cudgelled  for  the  sake  of  his  "  cruel-hearted  cur,"  to 
be  set  in  the  stocks  and  placed  in  the  pillory,  and  never- 
theless rejoices  at  the  punishment  inflicted  upon  his 
friend  Speed  for  a  fault  into  which  he  himself  had  inten- 
tionally led  him.     In  fact,  he  is  the  most  amusing  im- 

15 


Comments  TWO  GENTLEMEN 

personation  both  of  sentimental  folly  and  foolish  senti- 
mentality, and  of  the  self-will  and  blindness  of  love. 

Ulrici:  Shakspeare's  Dramatic  Art. 


In  the  Tzvo  Gentlemen  of  Verona  rhyme  has  fallen 
seemingly  into  abeyance,  and  there  are  no  passages  of 
such  elegiac  beauty  as  in  the  former  [Comedy  of  Errors^, 
of  such  exalted  eloquence  as  in  the  latter  {Love's  Labour 's 
Lost^  of  these  plays ;  there  is  an  even  sweetness,  a  sim- 
ple equality  of  grace  in  thought  and  language 
which  keeps  the  whole  poem  in  tune,  written  as  it 
is  in  a  subdued  key  of  unambitious  harmony.  In  per- 
fect unity  and  keeping  the  composition  of  this  beau- 
tiful sketch  may  perhaps  be  said  to  miark  a  stage  of  ad- 
vance, a  new  point  of  work  attained,  a  faint  but  sensible 
change  of  manner,  signalised  by  increased  firmness  of 
hand  and  clearness  of  outline.  Slight  and  swift  in  ex- 
ecution as  it  is,  few  and  simple  as  are  the  chords  here 
struck  of  character  and  emotion,  every  shade  of  draw- 
ing and  every  note  of  sound  is  at  one  with  the  whole 
scheme  of  form  and  music.  Here  too  is  the  first  dawn 
of  that  higher  and  more  tender  humour  which  was  never 
given  in  such  perfection  to  any  man  as  ultimately  to 
Shakespeare;  one  touch  of  the  by-play  of  Launce  and 
his  immortal  dog  is  worth  all  the  bright  fantastic  inter- 
ludes of  Boyet  and  Adriano,  Costard  and  Holofernes; 
worth  even  half  the  sallies  of  Alercutio,  and  half  the 
dancing  doggerel  or  broad-witted  prose  of  either 
Dromio.  But  in  the  final  poem  which  concludes  and 
crowns  the  first  epoch  of  Shakespeare's  work,  the  special 
graces  and  peculiar  glories  of  each  that  went  before  are 
gathered  together  as  in  one  garland  "  of  every  hue  and 
every  scent."  The  young  genius  of  the  master  of  all 
our  poets  finds  its  consummation  in  the  Midsiimmer- 
Nighfs  Dream.  The  blank  verse  is  as  full,  sweet,  and 
strong  as  the  best  of  Biron's  or  Romeo's;  the  rhymed 

i6 


OF  VERONA  Comments 

verse  as  clear,  pure,  and  true  as  the  simplest  and  truest 
melody  of  Venus  and  Adonis  or  the  Comedy  of  Er- 
rors. But  here  each  kind  of  excellence  is  equal  through- 
out; there  are  no  purple  patches  on  a  gown  of 
serge,  but  one  seamless  and  imperial  robe  of  a  single 
dye.  Of  the  lyric  or  the  prosaic  part,  the  counterchange 
of  loves  and  laughters,  of  fancy  fine  as  air  and  imagina- 
tion as  high  as  heaven,  what  need  can  there  be  for  any 
one  to  shame  himself  by  the  helpless  attempt  to  say 
some  word  not  utterly  unworthy?  Let  it  suffice  us  to 
accept  this  poem  as  the  landmark  of  our  first  stage,  and 
pause  to  look  back  from  it  on  what  lies  behind  us  of 
partial  or  perfect  work. 

Swinburne:  A  Study  of  Shakespeare. 


The 
Two  Gentlemen  of  Verona. 


DRAMATIS    PERSONAE. 

Duke  of  Milan^  Father  to  Silvia. 
Valentine 


iNE,  "I 


_.  ,     the  tzi'o  Gentlemen. 

Proteus, 

Antonio,  Father  to  Proteus. 

Thurio,  a  foolish  rival  to  Valentine. 

Eglamour,  Agent  for  Silvia  in  her  escape. 

Host,  -where  Julia  lodges. 

Outlaws,  with  Valentine. 

Speed,  a  clownish  servant  to  Valentine. 

Launce,  the  like  to  Proteus. 

Panthino,  Servant  to  Antonio. 

Julia,  beloved  of  Proteus. 
Silvia,  beloved  of  Valentine. 
LucETTA,  waiting-woman  to  Julia. 

Servants,  Musicians. 

Scene,  Verona;  Milan;  the  frontiers  of  Mantua. 


The 
Two  Gentlemen  of  Verona. 

ACT  FIRST. 
Scene  I. 

Verona.     An  open  place. 
Enter  Valentine  and  Proteus. 

Val.  Cease  to  persuade,  my  loving  Proteus: 

Home-keeping  youth  have  ever  homely  wits. 
Were  't  not  affection  chains  thy  tender  days 
To  the  sweet  glances  of  thy  honour'd  love, 
I  rather  would  entreat  thy  company 
To  see  the  wonders  of  the  world  abroad, 
Than,  living  dully  sluggardized  at  home, 
Wear  out  thy  youth  with  shapeless  idleness. 
But  since  thou  lovest,  love  still,  and  thrive  therein 
Even  as  I  would,  when  I  to  love  begin. 
Pro.  Wilt  thou  be  gone?     Sweet  Valentine,  adieu? 
Think  on  thy  Proteus,  when  thou  haply  seest 
Some  rare  note-worthy  object  in  thy  travel: 
Wish  me  partaker  in  thy  happiness, 
When  thou  dost  meet  good  hap;  and  in  thy  danger, 
If  ever  danger  do  environ  thee. 
Commend  thy  grievance  to  my  holy  prayers. 
For  I  will  be  thy  beadsman,  Valentine. 
Val.  And  on  a  love-book  pray  for  my  success? 
Pro.  Upon  some  book  I  love  I  '11  pray  for  thee.  20 

21 


10 


Act  I.  Sc.  i.  TWO  GENTLEMEN 

Val.  That's  on  some  shallow  story  of  deep  love: 
How  young  Leander  cross'd  the  Hellespont. 

Pro.  That's  a  deep  story  of  a  deeper  love; 
For  he  was  more  than  over  shoes  in  love. 

Val.  'Tis  true;  for  you  are  over  boots  in  love, 
And  yet  you  never  swum  the  Hellespont. 

Pro.  Over  the  boots?  nay,  give  me  not  the  boots. 

Val.  No,  I  will  not,  for  it  boots  thee  not. 

Pro.  What? 

Val.  To  be  in  love,  where  scorn  is  bought  with  groans; 
Coy  looks  with  heart-sore  sighs;    one  fading  mo- 
ment's mirth  30 
With  twenty  watchful,  weary,  tedious  nights: 
If  haply  won,  perhaps  a  hapless  gain; 
If  lost,  why  then  a  grievous  labour  won; 
However,  but  a  folly  bought  with  wit. 
Or  else  a  wit  by  folly  vanquished. 

Pro.  So,  by  your  circumstance,  you  call  me  fool. 

Val.  So,  by  your  circumstance,  I  fear  you  '11  prove. 

Pro.  'Tis  love  you  cavil  at :  I  am  not  Love. 

Val.  Love  is  your  master,  for  he  masters  you: 

And  he  that  is  so  yoked  by  a  fool,  40 

Methinks,  should  not  be  chronicled  for  wise. 

Pro.  Yet  writers  say,  as  in  the  sweetest  bud 
The  eating  canker  dwells,  so  eating  love 
Inhabits  in  the  finest  wits  of  all. 

Val.  And  writers  say,  as  the  most  forward  bud 
Is  eaten  by  the  canker  ere  it  blow, 
Even  so  by  love  the  young  and  tender  wit 
Is  turn'd  to  folly;  blasting  in  the  bud. 
Losing  his  verdure  even  in  the  prime, 
And  all  the  fair  effects  of  future  hopes.  50 

22 


OF  VERONA  Act  I.  Sc.  i. 

But  wherefore  waste  I  time  to  counsel  thee, 
That  art  a  votary  to  fond  desire? 
Once  more  adieu !   my  father  at  the  road 
Expects  my  coming,  there  to  see  me  shipp'd. 

Pro.  And  thither  will  I  bring  thee,  Valentine. 

Val.  Sweet  Proteus,  no;  now  let  us  take  our  leave. 
To  Milan  let  me  hear  from  thee  by  letters 
Of  thy  success  in  love,  and  what  news  else 
Betideth  here  in  absence  of  thy  friend; 
And  I  likewise  will  visit  thee  with  mine.  60 

Pro.  All  happiness  bechance  to  thee  in  Milan! 

Val.  As  much  to  you  at  home!  and  so,  farewell.        [^Exit, 

Pro.  He  after  honour  hunts,  I  after  love: 

He  leaves  his  friends  to  dignify  them  more; 
I  leave  myself,  my  friends,  and  all,  for  love. 
Thou,  Julia,  thou  hast  metamorphosed  me. 
Made  me  neglect  my  studies,  lose  my  time, 
War  with  good  counsel,  set  the  world  at  nought; 
Made  wit  with  musing  weak,  heart  sick  with 
thought. 

Enter  Speed. 

Speed.  Sir  Proteus,  save  you!     Saw  you  my  master?    70 
Pro.  But  now  he  parted  hence,  to  embark  for  Milan. 
Speed.  Twenty  to  one,  then,  he  is  shipp'd  already, 

And  I  have  play'd  the  sheep  in  losing  him. 
Pro.  Indeed,  a  sheep  doth  very  often  stray, 

An  if  the  shepherd  be  awhile  away. 
Speed.  You  conclude  that  my  master  is  a  shepherd, 

then,  and  I  a  sheep? 
Pro.  I  do. 
Speed.  Why  then,  my  horns  are  his  horns,  whether 

I  wake  or  sleep.  80 

23 


Act  I.  Sc.  i.  TWO  GENTLEMEN 

Pro.  A  silly  answer,  and  fitting  well  a  sheep. 
Speed.  This  proves  me  still  a  sheep. 
Pro.  True;   and  thy  master  a  shepherd. 
Speed.  Nay,  that  I  can  deny  by  a  circumstance. 
Pro.  It  shall  go  hard  but  I  '11  prove  it  by  another. 
Speed.  The  shepherd  seeks  the  sheep,  and  not  the 
sheep  the  shepherd;   but  I  seek  my  master,  and 
my  master  seeks  not  me:    therefore  I  am  no 
sheep. 
Pro.  The  sheep  for  fodder  follow  the  shepherd ;   the     90 
shepherd  for  food  follows  not  the  sheep:   thou 
for  wages  followest  thy  master;   thy  master  for 
wages  follows  not  thee:    therefore  thou  art  a 
sheep. 
Speed.  Such  another  proof  will  make  me  cry  '  baa.' 
Pro.  But,  dost  thou  hear?   gavest  thou  my  letter  to 

Julia? 
Speed.  Ay,  sir:   I,  a  lost  mutton,  gave  your  letter  to 
her,  a  laced  mutton,  and  she,  a  laced  mutton, 
gave  me,  a  lost  mutton,  nothing  for  my  labour.   100 
P7'o.  Here  's  too  small  a  pasture  for  such  store  of 

muttons. 
Speed.  If  the  ground  be  overcharged,  you  were  best 

stick  her. 
Pro.  Nay :  in  that  you  are  astray,  'twere  best  pound 

you. 
Speed.  Nay,  sir,  less  than  a  pound  shall  serve  me  for 

carrying  your  letter. 
Pro.  You  mistake;   I  mean  the  pound, — a  pinfold. 
Speed.  From  a  pound  to  a  pin?    fold  it  over  and 

over,  no 

'Tis  threefold  too  little  for  carrying  a  letter  to  your 
lover. 

24 


OF  VERONA  Act  I.  Sc.  i. 

Pro.  But  what  said  she? 

Speed.   [First  nodding]  Ay. 

Pro.  Nod — Ay — why,  that 's  noddy. 

Speed.  You  mistook,  sir;    I  say,  she  did  nod:    and 
you  ask  me  if  she  did  nod;  and  I  say,  '  Ay.' 

Pro.  And  that  set  together  is  noddy. 

Speed.  Now  you  have  taken  the  pains  to  set  it  to- 
gether, take  it  for  your  pains. 

Pro.  No,  no;  you  shall  have  it  for  bearing  the  letter.   120 

Speed.  Well,  I  perceive  I  must  be  fain  to  bear  with 
you. 

Pro.  Why,  sir,  how  do  you  bear  with  me? 

Speed.  Marry,  sir,  the  letter,  very  orderly;    having 
nothing  but  the  word  '  noddy  '  for  my  pains. 

Pro.  Beshrew  me,  but  you  have  a  quick  wit. 

Speed.  And  yet  it  cannot  overtake  your  slow  purse. 

Pro.  Come,  come,  open  the  matter  in  brief:    what 
said  she? 

Speed.  Open  your  purse,  that  the  money  and  the   130 
matter  may  be  both  at  once  delivered. 

Pro.  Well,  sir,  here  is  for  your  pains.     What  said 
she? 

Speed.  Truly,  sir,  I  think  you  '11  hardly  win  her. 

Pro.  Why,  couldst  thou  perceive  so  much  from  her? 

Speed.  Sir,  I  could  perceive  nothing  at  all  from  her; 
no,  not  so  much  as  a  ducat  for  delivering  your 
letter:  and  being  so  hard  to  me  that  brought 
your  mind,  I  fear  she  '11  prove  as  hard  to  you  in 
telling  your  mind.  Give  her  no  token  but  140 
stones;  for  she  's  as  hard  as  steel. 

Pro.  What  said  she?   nothing? 

Speed.  No,  not  so  much  as  '  Take  this  for  thy  pains.' 

25 


Act  I.  Sc.  ii.  TWO  GENTLEMEN 

To  testify  your  bounty,  I  thank  you,  you  have 
testerned  me;    in  requital  whereof,  henceforth 
carry  your  letters  yourself:    and   so,   sir,   I'll 
commend  you  to  my  master. 
Pro.  Go,  go,  be  gone,  to  save  your  ship  from  wrecks 
Which  cannot  perish  having  thee  aboard. 
Being  destined  to  a  drier  death  on  shore. 

[Exit  Speed. 
I  must  go  send  some  better  messenger:  151 

I  fear  my  Julia  would  not  deign  my  lines. 
Receiving  them  from  such  a  worthless  post.       {Exit. 


nter  Julia  and  Lucctta. 


Jid.  But  say,  Lucetta,  now  we  are  alone, 

Wouldst  thou,  then,  counsel  me  to  fall  in  love? 

Luc.  Ay,  madam;  so  you  stumble  not  unheedfully. 

Jtd.  Of  all  the  fair  resort  of  gentlemen 

That  every  day  w4th  parle  encounter  me. 
In  thy  opinion  which  is  worthiest  love.? 

Luc.  Please  you  repeat  their  names,  I  '11  show  my  mind 
According  to  my  shallow  simple  skill. 

Jid.  What  think'st  thou  of  the  fair  Sir  Eglamour? 

Luc.  As  of  a  knight  well-spoken,  neat  and  fine;  10 

But,  were  I  you,  he  never  should  be  mine. 

Jid.  What  think'st  thou  of  the  rich  Mercatio? 

Luc.  Well  of  his  wealth;   but  of  himself,  so  so. 

Jid.  What  think'st  thou  of  the  gentle  Proteus? 

Luc.  Lord,  Lord!  to  see  what  folly  reigns  in  us! 

Jul.  How  now!   what  means  this  passion  at  his  name? 

26 


OF  VERONA  Act  I.  Sc.  ii. 

Luc.  Pardon,  dear  madam:   'tis  a  passing  shame 

That  I,  unworthy  body  as  I  am, 

Should  censure  thus  on  lovely  gentlemen. 
Jul.  Why  not  on  Proteus,  as  of  all  the  rest?  20 

Lite.  Then  thus, — of  many  good  I  think  him  best. 
Jul.  Your  reason? 
Liic.  I  have  no  other  but  a  woman's  reason; 

I  think  him  so,  because  I  think  him  so. 
Jul.  And  wouldst  thou  have  me  cast  my  love  on  him? 
Luc.  Ay,  if  you  thought  your  love  not  cast  away. 
Jul.  Why,  he,  of  all  the  rest,  hath  never  moved  me. 
Luc.  Yet  he,  of  all  the  rest,  I  think,  best  loves  ye. 
Jul.  His  little  speaking  shows  his  love  but  small. 
Luc.  Fire  that 's  closest  kept  burns  most  of  all.  30 

Jul.  They  do  not  love  that  do  not  show  their  love. 
Luc.  O,  they  love  least  that  let  men  know  their  love. 
Jul.  I  would  I  knew  his  mind. 
Luc.  Peruse  this  paper,  madam. 
////.  'To  Julia.' — Say,  from  whom? 
Luc.  That  the  contents  will  show. 
Jul.  Say,  say,  who  gave  it  thee? 

Luc.  Sir  Valentine's  page;   and  sent,  I  think,  from  Pro- 
teus. 

He  would  have  given  it  you;  but  I,  being  in  the  way. 

Did  in  your  name  receive  it:    pardon  the  fault,  I 
pray. 
Jul.  Now,  by  my  modesty,  a  goodly  broker!  41 

Dare  you  presume  to  harbour  wanton  lines? 

To  whisper  and  conspire  against  my  youth? 

Now,  trust  me,  'tis  an  office  of  great  worth, 

And  you  an  officer  fit  for  the  place. 

There,  take  the  paper:  see  it  be  return'd; 

Or  else  return  no  more  into  my  sight. 
Luc.  To  plead  for  love  deserves  more  fee  than  hate. 

27 


Act  I.  Sc.  ii.  TWO  GENTLEMEN 

Jul.  Will  ye  be  gone? 

Luc.  That  you  may  ruminate.         [Exit 

Jul.  And  yet  I  would  I  had  o'erlook'd  the  letter:  50 

It  were  a  shame  to  call  her  back  again, 
And  pray  her  to  a  fault  for  which  I  chid  her. 
What  fool  is  she,  that  knows  I  am  a  maid, 
And  would  not  force  the  letter  to  my  view! 
Since  maids,  in  modesty,  say  *  no '  to  that 
Which  they  would  have  the  profferer  construe  '  ay.' 
Fie,  fie,  how  wayward  is  this  foolish  love. 
That,  like  a  testy  babe,  will  scratch  the  nurse. 
And  presently,  all  humbled,  kiss  the  rod! 
How  churHshly  I  chid  Lucetta  hence,  60 

When  wiUingly  I  would  have  had  her  "here! 
How  angrily  I  taught  my  brow  to  frown. 
When  inward  joy  enforced  my  heart  to  smile! 
My  penance  is,  to  call  Lucetta  back. 
And  ask  remission  for  my  folly  past. 
What,  ho!   Lucetta! 

Re-enter  Lucetta. 

Imc.  What  would  your  ladyship? 

Jul.  Is 't  near  dinner-time? 

Luc.  I  would  it  were; 

That  you  might  kill  your  stomach  on  your  meat, 

And  not  upon  your  maid. 
Jul.  What  is  't  that  you  took  up  so  gingerly?  70 

Luc,  Nothing. 

Jul.  Why  didst  thou  stoop,  then? 
Luc.  To  take  a  paper  up  that  I  let  fall. 
Jul.  And  is  that  paper  nothing? 
Luc.  Nothing  concerning  me. 

28 


OF  VERONA  Act  I.  Sc.  ii. 

J^iL  Then  let  it  lie  for  those  that  it  concerns. 
Luc.  Madam,  it  will  not  lie  where  it  concerns, 

Unless  it  have  a  false  interpreter. 
Jul.  Some  love  of  yours  hath  writ  to  you  in  rhyme. 
Luc.  That  I  might  sing  it,  madam,  to  a  tune.  80 

Give  me  a  note:  your  ladyship  can  set. 
Jul.  As  little  by  such  toys  as  may  be  possible. 

Best  sing  it  to  the  tune  of  '  Light  o'  love.' 
Luc.  It  is  too  heavy  for  so  light  a  tune. 
Jul.  Heavy !   belike  it  hath  some  burden,  then  ? 
Luc.  Ay;  and  melodious  were  it,  would  you  sing  it. 
Jul.  And  why  not  you? 

Luc.  I  cannot  reach  so  high. 

Jul.  Let 's  see  your  song.     How  now,  minion ! 
Luc.  Keep  tune  there  still,  so  you  will  sing  it  out: 

And  yet  methinks  I  do  not  like  this  tune.  90 

Jul.  You  do  not? 

Luc.  No,  madam;   it  is  too  sharp. 

Jul.  You,  minion,  are  too  saucy. 
Luc.  Nay,  now  you  are  too  flat. 

And  mar  the  concord  with  too  harsh  a  descant: 

There  wanteth  but  a  mean  to  fill  your  song. 
Jul.  The  mean  is  drown'd  with  your  unruly  bass. 
Luc.  Indeed,  I  bid  the  base  for  Proteus. 
Jul.  This  babble  shall  not  henceforth  trouble  me. 

Here  is  a  coil  with  protestation!       {Tears  the  letter. 

Go  get  you  gone,  and  let  the  papers  he:  100 

You  would  be  fingering  them,  to  anger  me. 
Luc.  She  makes  it  strange;  but  she  would  be  best  pleased 

To  be  so  anger'd  with  another  letter.  [Exit. 

Jul.  Nay,  would  I  were  so  anger'd  with  the  same! 

O  hateful  hands,  to  tear  such  loving  words! 

29 


Act  I.  Sc.  ii.  TWO  GENTLEMEN 

Injurious  wasps,  to  feed  on  such  sweet  honey, 

And  kill  the  bees,  that  yield  it,  with  your  stings! 

I  '11  kiss  each  several  paper  for  amends. 

Look,  here  is  writ  '  kind  Julia.'     Unkind  Julia! 

As  in  revenge  of  thy  ingratitude,  no 

I  throw  thy  name  against  the  bruising  stones. 

Trampling  contemptuously  on  thy  disdain. 

And  here  is  writ  '  love-wounded  Proteus.' 

Poor  wounded  name!  my  bosom,  as  a  bed, 

Shall   lodge   thee,   till    thy   wound   be    thoroughly 

heal'd; 
And  thus  I  search  it  with  a  sovereign  kiss. 
But  twice  or  thrice  was  '  Proteus '  written  down. 
Be  calm,  good  wind,  blow  not  a  word  away. 
Till  I  have  fqund  each  letter  in  the  letter. 
Except  mine  own  name :  that  some  whirlwind  bear 
Unto  a  ragged,  fearful-hanging  rock,  121 

And  throw  it  thence  into  the  raging  sea! 
Lo,  here  in  one  line  is  his  name  twice  writ, 
*  Poor  forlorn  Proteus,  passionate  Proteus, 
To  the  sweet  Julia  ' : — that  I  '11  tear  away. — 
And  yet  I  will  not,  sith  so  prettily 
He  couples  it  to  his  complaining  names. 
Thus  will  I  fold  them  one  upon  another: 
Now  kiss,  embrace,  contend,  do  what  you  will. 

Re-enter  Liicetta. 

Luc.  Madam,  130 

Dinner  is  ready,  and  your  father  stays. 
Jul.  Well,  let  us  go. 

Luc.  What,  shall  these  papers  lie  like  tell-tales  here?     . 
Jul.  If  you  respect  them,  best  to  take  them  up. 
Luc.  Nay,  I  was  taken  up  for  laying  them  down: 

30 


OF  VERONA  Act  I.  Sc.  iii. 

Yet  here  they  shall  not  lie,  for  catching  cold. 
Jul.  1  see  you  have  a  moneth's  mind  to  them. 
Luc.  Ay,  madam,  you  may  say  what  sights  you  see; 

I  see  things  too,  although  you  judge  I  wink. 
Jul.  Come,  come;   will 't  please  you  go?     [Exeunt.    140 


Scene  III. 

The  same.     Antonio's  house. 
Enter  Antonio  and  Panthino. 

Ant.  Tell  me,  Panthino,  what  sad  talk  was  that 

Wherewith  my  brother  held  you  in  the  cloister? 

Pan.  'Twas  of  his  nephew  Proteus,  your  son. 

Ant.  Why,  what  of  him? 

Pan.  He  wonder'd  that  your  lordship 

Would  suffer  him  to  spend  his  youth  at  home, 
While  other  men,  of  slender  reputation, 
Put  forth  their  sons  to  seek  preferment  out: 
Some  to  the  wars,  to  try  their  fortune  there; 
Some  to  discover  islands  far  away; 
Some  to  the  studious  universities.  lo 

For  any,  or  for  all  these  exercises. 
He  said  that  Proteus  your  son  was  meet; 
And  did  request  me  to  importune  you 
To  let  him  spend  his  time  no  more  at  home. 
Which  would  be  great  impeachment  to  his  age, 
In  having  known  no  travel  in  his  youth. 

Ant.  Nor  need'st  thou  much  importune  me  to  that 
Whereon  this  month  I  have  been  hammertng. 
I  have  consider'd  well  his  loss  of  time, 
And  how  he  cannot  be  a  perfect  man,  20 

31 


Act  I.  Sc.  iii.  TWO  GENTLEMEN 

Not  being  tried  and  tutor'd  in  the  world: 
Experience  is  by  industry  achieved, 
And  perfected  by  the  swift  course  of  time. 
Then,  tell  me,  whither  were  I  best  to  send  him? 

Pan.  I  think  your  lordship  is  not  ignorant 
How  his  companion,  youthful  Valentine, 
Attends  the  emperor  in  his  royal  court. 

Ant.  I  know  it  well. 

Pan.  'Twere   good,    I    think,   your   lordship    sent   him 
thither: 
There  shall  he  practise  tilts  and  tournaments,        30 
Hear  sweet  discourse,  converse  with  noblemen, 
And  be  in  eye  of  every  exercise 
Worthy  his  youth  and  nobleness  of  birth. 

Ant.  I  Hke  thy  counsel;  well  hast  thou  advised: 
And  that  thou  mayst  perceive  how  well  I  hke  it 
The  execution  of  it  shall  make  known. 
Even  with  the  speediest  expedition 
I  will  dispatch  him  to  the  emperor's  court. 

Pan.  To-morrow,  may  it  please  you,  Don  Alphonso, 

With  other  gentlemen  of  good  esteem,  40 

Are  journeying  to  salute  the  emperor, 
And  to  commend  their  service  to  his  will. 

Ant.  Good  company;  with  them  shall  Proteus  go: 
And,  in  good  time !  now  will  we  break  with  him. 

Enter  Proteus. 

Pro.  Sweet  love!   sweet  Hues!   sweet  life! 

Here  is  her  hand,  the  agent  of  her  heart; 

Here  is  her  oath  for  love,  her  honour's  pawn. 

O,  that  our  fathers  would  applaud  our  loves. 

To  seal  our  happiness  with  their  consents! 
■--     O  heavenly  Julia!  50 

33 


OF  VERONA  Act  I.  Sc.  iii. 

Ant.  How  now!  what  letter  are  you  reading  there? 
Pro.  May 't  please  your  lordship,  'tis  a  word  or  two 

Of  commendations  sent  from  Valentine, 

Deliver'd  by  a  friend  that  came  from  him. 
Ant.  Lend  me  the  letter;  let  me  see  what  news. 
Pro.  There  is  no  news,  my  lord;  but  that  he  writes 

How  happily  he  lives,  how  well  beloved, 

And  daily  graced  by  the  emperor; 

Wishing  me  with  him,  partner  of  his  fortune. 
Ant.  And  how  stand  you  affected  to  his  wish?  60 

Pro.  As  one  relying  on  your  lordship's  will, 

And  not  depending  on  his  friendly  wish. 
Ant.  My  will  is  something  sorted  with  his  wish. 

Muse  not  that  I  thus  suddenly  proceed; 

For  what  I  will,  I  will,  and  there  an  end. 

I  am  resolved  that  thou  shalt  spend  some  time 

With  Valentinus  in  the  emperor's  court: 

What  maintenance  he  from  his  friends  receives, 

Like  exhibition  thou  shalt  have  from  me. 

To-morrow  be  in  readiness  to  go:  70 

Excuse  it  not,  for  I  am  peremptory. 
Pro.  My  lord,  I  cannot  be  so  soon  provided: 

Please  you,  deliberate  a  day  or  two. 
Ant.  Look,  what  thou  want'st  shall  be  sent  after  thee: 

No  more  of  stay!  to-morrow  thou  must  go. 

Come  on,  Panthino:  you  shall  be  employ'd 

To  hasten  on  his  expedition. 

[Exeunt  Ant.  and  Pan. 
Pro.  Thus  have  I  shunn'd  the  fire  for  fear  of  burning, 

And  drench'd  me  in  the  sea,  where  I  am  drowned. 

I  fear'd  to  show  my  father  Julia's  letter,  80 

Lest  he  should  take  exceptions  to  my  love; 

And  with  the  vantage  of  mine  own  excuse 

33 


Actll.  Sc.  i.  TWO  GENTLEMEN 

Hath  he  excepted  most  against  my  love. 
O,  how  this  spring  of  love  resembleth 
The  uncertain  glory  of  an  April  day, 
Which  now  shows  all  the  beauty  of  the  sun, 
And  by  and  by  a  cloud  takes  all  away! 

Re-enter  Panthino. 

Pan.  Sir  Proteus,  your  father  calls  for  you: 

He  is  in  haste;   therefore,  I  pray  you,  go. 

Pro.  Why,  this  it  is:   my  heart  accords  thereto,  90 

And  yet  a  thousand  times  it  answers  '  no.' 

{Exeunt. 

ACT  SECOND. 
Scene  I. 

Milan.     The  Duke's  palace. 

Enter  Valentine  and  Speed. 

Speed.  Sir,  your  glove. 

Val.  Not  mine;   my  gloves  are  on. 

Speed.  Why,  then,  this  may  be  yours,  for  this  is  but  one. 
Val.  Ha!  let  me  see:  ay,  give  it  me,  it 's  mine: 

Sweet  ornament  that  decks  a  thing  divine! 

Ah,  Silvia,  Silvia! 
Speed.  Madam  Silvia!   Madam  Silvia! 
Val.  How  now,  sirrah? 
Speed.  She  is  not  within  hearing,  sir. 
Val.  Why,  sir,  who  bade  you  call  her? 
Speed.  Your  worship,  sir;   or  else  I  mistook.  10 

Val.  Well,  you  '11  stiU  be  too  forward. 
Speed.  And  yet  I  was  last  chidden  for  being  too  slow. 

34 


OF  VERONA  Act  II.  Sc.  i. 

VaL  Go   to,   sir:    tell   me,   do   you   know   Madam 
Silvia? 

Speed.  She  that  your  worship  loves? 

VaL  Why,  how  know  you  that  I  am  in  love? 

Speed.  Marry,  by  these  special  marks:  first,  you 
have  learned,  Hke  Sir  Proteus,  to  wreathe  your 
arms,  like  a  male-content;  to  relish  a  love-song, 
like  a  robin-redbreast;  to  walk  alone,  like  one  20 
that  had  the  pestilence;  to  sigh,  Hke  a  school- 
boy that  had  lost  his  ABC;  to  weep,  like  a 
young  wench  that  had  buried  her  grandam;  to 
fast,  like  one  that  takes  diet;  to  watch,  like  one 
that  fears  robbing;  to  speak  puHng,  Hke  a 
beggar  at  Hallowmas.  You  were  wont,  when 
you  laughed,  to  crow  like  a  cock;  when  you 
walked,  to  walk  like  one  of  the  lions;  when  you 
fasted,  it  was  presently  after  dinner;  when  you 
looked  sadly,  it  was  for  want  of  money:  and  30 
now  you  are  metamorphosed  with  a  mistress, 
that,  when  I  look  on  you,  I  can  hardly  think  you 
my  master. 

Val.  Are  all  these  things  perceived  in  me? 

Speed.  They  are  all  perceived  without  ye. 

VaL  Without  me?  they  cannot. 

Speed.  Without  you?  nay,  that's  certain,  for,  with- 
out you  were  so  simple,  none  else  would:  but 
you  are  so  without  these  follies,  that  these  fol- 
lies are  within  you,  and  shine  through  you  Hke 
the  water  in  an  urinal,  that  not  an  eye  that  sees  40 
you  but  is  a  physician  to  comment  on  your  mal- 
ady. 

VaL  But  tell  me,  dost  thou  know  my  lady  Silvia? 

Speed.  She  that  you  gaze  on  so  as  she  sits  at  supper? 

35 


Act  II.  Sc.  i.  TWO  GENTLEMEN 

Vol.  Hast  thou  observed  that?  even  she,  I  mean. 

Speed.  Why;  sir,  I  know  her  not. 

Val.  Dost  thou  know  her  by  my  gazing  on  her,  and 
yet  knowest  her  not? 

Speed.  Is  she  not  hard-favoured,  sir? 

Val.  Not  so  fair,  boy,  as  well-favoured.  50 

Speed.  Sir,  I  know  that  well  enough. 

Val.  What  dost  thou  know? 

Speed.  That  she  is  not  so  fair  as,  of  you,  well  fa- 
voured. 

Val.  I  mean  that  her  beauty  is  exquisite,  but  her 
favour  infinite. 

Speed.  That 's  because  the  one  is  painted,  and  the 
other  out  of  all  count. 

Val.  How  painted?  and  how  out  of  count? 

Speed.  Marry,  sir,  so  painted,  to  make  her  fair,  that 

no  man  counts  of  her  beauty.  60 

Val.  How  esteemest  thou  me?     I  account  of  her 
beauty. 

Speed.  You  never  saw  her  since  she  was  deformed. 

Val.  How  long  hath  she  been  deformed  ? 

Speed.  Ever  since  you  loved  her. 

Val.  I  have  loved  her  ever  since  I  saw  her;  and  still 
I  see  her  beautiful. 

Speed.  If  you  love  her,  you  cannot  see  her. 

Val.  Why? 

Speed.  Because   Love   is   blind.     O,   that  you   had     70 
mine  eyes;    or  your  own  eyes  had  the  lights 
they  were  wont  to  have  when  you  chid  at  Sir 
Proteus  for  going  ungartered! 

Val.  What  should  I  see  then? 

Speed.  Your  own  present  folly,  and  her  passing  de- 
formity: for  he,  being  in  love,  could  not  see  to 

36 


OF  VERONA  Act  II.  Sc.  i. 

garter  his  hose;  and  you,  being  in  love,  cannot 

see  to  put  on  your  hose. 
Val.  BeHke,  boy,   then,  you  are  in  love;    for  last 

morning  you  could  not  see  to  wipe  my  shoes.         80 
Speed.  True,  sir;    I  was  in  love  with  my  bed:    I 

thank  you,  you  swinged  me  for  my  love,  which 

makes  me  the  bolder  to  chide  you  for  yours. 
Val.  In  conclusion,  I  stand  affected  to  her. 
Speed.  I  would  you  were  set,  so  your  affection  would 

cease. 
Val.  Last  night  she  enjoined  me  to  write  some  lines 

to  one  she  loves. 
Speed.  And  have  you? 

Val.  I  have.  90 

Speed.  Are  they  not  lamely  writ? 
Val.  No,  boy,  but  as  well  as  I  can  do  them.     Peace! 

here  she  comes. 
Speed.   [Aside]   O  excellent  motion!     O  exceeding 

puppet !     Now  will  he  interpret  to  her. 

Enter  Silvia. 

Val.  Madam  and  mistress,  a  thousand  good-mor- 
rows. 

Speed.   [Aside]   O,  give  ye  good  even!  here  's  a  mil- 
lion of  manners. 

Sil.  Sir  Valentine  and  servant,  to  you  two  thousand. 

Speed.   [Aside]   He  should  give  her  interest,  and  she  100 
gives  it  him. 

Val.  As  you  enjoin'd  me,  I  have  writ  your  letter 
Unto  the  secret  nameless  friend  of  yours; 
Which  I  was  much  unwilling  to  proceed  in, 
But  for  my  duty  to  your  ladyship. 

Sil.  I  thank  you,  gentle  servant:   'tis  very  clerkly  done. 

37 


Act  II.  Sc.  i.  TWO  GENTLEMEN 

Val.  Now  trust  me,  madam,  it  came  hardly  off ; 

For,  being  ignorant  to  whom  it  goes, 

I  writ  at  random,  very  doubtfully. 
Sil.  Perchance    you    think    too    much    of    so     much 
pains?  no 

Val.  No,  madam ;  so  it  stead  you,  I  will  write, 

Please  you   command,  a  thousand  times  as  much; 

And  yet — 
Sil.  A  pretty  period!     Well,  I  guess  the  sequel; 

And  yet  I  will  not  name  it; — and  yet  I  care  not; — 

And  yet  take  this  again: — and  yet  I  thank  you; 

Meaning  henceforth  to  trouble  you  no  more. 
Speed.   [Aside]   And  yet  you  will;   and  yet  another 

'  yet.' 
Val.  What  means  your  ladyship?  do  you  not  like  it? 
Sil.  Yes,  yes:  the  Hues  are  very  quaintly  writ;  120 

But  since  unwillingly,  take  them  again. 

Nay,  take  them. 
Val.  Madam,  they  are  for  you. 
Sil.  Ay,  ay:  you  writ  them,  sir,  at  my  request; 

But  I  will  none  of  them;   they  are  for  you; 

I  would  have  had  them  writ  more  movingly. 
Val.  Please  you,  I  '11  write  your  ladyship  another. 
Sil.  And  when  it 's  writ,  for  my  sake  read  it  over, 

And  if  it  please  you,  so;   if  not,  why,  so. 
Val.  If  it  please  me,  madam,  what  then?  130 

Sil.  Why,  if  it  please  you,  take  it  for  your  labour : 

And  so,  good  morrow,  servant.  [Exit. 

Speed.  O  jest  unseen,  inscrutable,  invisible. 

As  a  nose  on  a  man's  face,  or  a  weathercock  on  a 
steeple ! 

My  master  sues  to  her;    and  she  hath  taught  her 
suitor, 

He  being  her  pupil,  to  become  her  tutor. 

38 


OF  VERONA  Act  II.  Sc.  i. 

O  excellent  device!  was  there  ever  heard  a  better, 

That  my   master,  being  scribe,  to  himself  should 
write  the  letter? 
Val.  How  now,  sir?   what  are  you  reasoning  with 

yourself?  140 

Speed.  Nay,  I  was  rhyming:   'tis  you  that  have  the 

reason. 
Val.  To  do  what? 

Speed.  To  be  a  spokesman  from  Madam  Silvia. 
Fal.  To  whom? 

Speed.  To  yourself:   why,  she  wooes  you  by  a  figure. 
Val.  What  figure? 
Speed.  By  a  letter,  I  should  say. 
Val.  Why,  she  hath  not  writ  to  me? 
Speed.  What  need  she,  when  she  hath  made  you  150 

write  to  yourself?    Why,  do  you  not  perceive 

the  jest? 
Val.  No,  believe  me. 
Speed.  No  believing  you,  indeed,  sir.     But  did  you 

perceive  her  earnest? 
Val.  She  gave  me  none,  except  an  angry  word. 
Speed.  Why,  she  hath  given  you  a  letter. 
Val.  That 's  the  letter  I  writ  to  her  friend. 
Speed.  And  that  letter  hath  she  delivered,  and  there 

an  end. 
Val.  I  would  it  were  no  worse.  160 

Speed.  I  '11  warrant  you,  'tis  as  well : 

For  often  have  you  writ  to  her,  and  she,  in  modesty, 

Or  else  for  want  of  idle  time,  could  not  again  reply; 

Or  fearing  else  some  messenger,  that  might  her 
mind  discover. 

Herself  hath  taught  her  love  himself  to  write  unto 
her  lover. 

39 


Act  II.  Sc.  ii.  TWO  GENTLEMEN 

All  this  I  speak  in  print,  for  in  print  I  found  it. 
Why  muse  you,  sir?   'tis  dinner-time. 

VaL  I  have  dined. 

Speed.  Ay,  but  hearken,  sir;   though  the  chameleon 

Love  can  feed  on  the  air,  I  am  one  that  am  170 
nourished  by  my  victuals,  and  would  fain  have 
meat.     O,  be  not  like  your  mistress;  be  moved, 
be  moved.  [Exeunt. 


Scene  II. 

Verona.     Julia's  house. 
Enter  Proteus  and  Julia. 

Pro.  Have  patience,  gentle  Julia. 

Jul.  I  must,  vv^here  is  no  remedy. 

Pro.  When  possibly  I  can,  I  will  return. 

Jid.  If  you  turn  not,  you  will  return  the  sooner. 
Keep  this  remembrance  for  thy  Julia's  sake. 

[Giving  a  ring. 

Pro.  Why,  then,  we'll  make  exchange;    here,  take  you 
this. 

Jul.  And  seal  the  bargain  with  a  holy  kiss. 

Pro.  Here  is  my  hand  for  my  true  constancy; 
And  when  that  hour  o'ersHps  me  in  the  day 
Wherein  I  sigh  not,  Julia,  for  thy  sake,  10 

The  next  ensuing  hour  some  foul  mischance 
Torment  me  for  my  love's  forgetfulness! 
My  father  stays  my  coming;  answer  not; 
The  tide  is  now: — nay,  not  thy  tide  of  tears; 
That  tide  will  stay  me  longer  than  I  should. 
Julia,  farewell!  [Exit  Jidia. 

40 


OF  VERONA  Act  II.  Sc.  iii. 

What,  gone  without  a  word? 
Ay,  so  true  love  should  do:  it  cannot  speak; 
For  truth  hath  better  deeds  than  words  to  grace  it. 

Enter  Panthino. 

Pan.  Sir  Proteus,  you  are  stay'd  for. 
Pro,  Go;   I  come,  I  come.  20 

Alas!  this  parting  strikes  poor  lovers  dumb. 

[Exetmt. 

Scene  III. 

The  same.     A  street. 

Enter  Launce,  leading  a  dog. 

Launee.  Nay,  'twill  be  this  hour  ere  I  have  done 
weeping;  all  the  kind  of  the  Launces  have  this 
very  fault.  I  have  received  my  proportion,  like 
the  prodigious  son,  and  am  going  with  Sir 
Proteus  to  the  Imperial's  court.  I  think  Crab 
my  dog  be  the  sourest-natured  dog  that  lives: 
my  mother  weeping,  my  father  wailing,  my  sis- 
ter crying,  our  maid  howling,  our  cat  wringing 
her  hands,  and  all  our  house  in  a  great  perplex- 
ity, yet  did  not  this  cruel-hearted  cur  shed  one  10 
tear:  he  is  a  stone,  a  very  pebble  stone,  and  has 
no  more  pity  in  him  than  a  dog:  a  Jew  would 
have  wept  to  have  seen  our  parting;  why,  my 
grandam,  having  no  eyes,  look  you,  wept  her- 
self blind  at  my  parting.  Nay,  I  '11  show  you 
the  manner  of  it.  This  shoe  is  my  father:  no, 
this  left  shoe  is  my  father:  no,  no,  this  left  shoe 

41 


Act  II.  Sc.  iii.  TWO  GENTLEMEN 

is  my  mother:  nay,  that  cannot  be  so  neither: 
yes,  it  is  so,  it  is  so,  it  hath  the  worser  sole. 
This  shoe,  with  the  hole  in  it,  is  my  mother,  and  20 
this  my  father;  a  vengeance  on 't!  there  'tis: 
now,  sir,  this  staff  is  my  sister,  for,  look  you,  she 
is  as  white  as  a  lily,  and  as  small  as  a  wand: 
this  hat  is  Nan,  our  maid:  I  am  the  dog:  no, 
the  dog  is  himself,  and  I  am  the  dog, — Oh!  the 
dog  is  me,  and  I  am  myself;  ay,  so,  so.  Now 
come  I  to  my  father;  Father,  your  blessing: 
now  should  not  the  shoe  speak  a  word  for  weep- 
ing: now  should  I  kiss  my  father;  well,  he  weeps 
on.  Now  come  I  to  my  mother:  O,  that  she 
could  speak  now  like  a  wood  woman!  Well,  30 
I  kiss  her,  why,  there  'tis;  here's  my  mother's 
breath  up  and  down.  Now  come  I  to  my  sis- 
ter; mark  the  moan  she  makes.  Now  the  dog 
all  this  while  sheds  not  a  tear,  nor  speaks  a 
word;  but  see  how  I  lay  the  dust  with  my  tears. 

Enter  Panthino. 

Pan.  Launce,  away,  away,  aboard!  thy  master  is 
shipped,  and  thou  art  to  post  after  with  oars. 
What's  the  matter?  why  weepest  thou  man? 
Away,  ass!  you'll  lose  the  tide,  if  you  tarry 
any  longer.  40 

Launce.  It  is  no  matter  if  the  tied  were  lost;  for  it 
is  the  unkindest  tied  that  ever  any  man  tied. 

Pan.  What's  the  unkindest  tide? 

Launce.  Why,  he  that 's  tied  here,  Crab,  my  dog. 

Pan.  Tut,  man,  I  mean  thou  'It  lose  the  flood,  and, 
in  losing  the  flood,  lose  thy  voyage,  and,  in 
losing  thy   voyage,   lose   thy   master,   and,   in 

42 


OF  VERONA  Act  II.  Sc.  iv. 

losing  thy  master,  lose  thy  service,  and,  in 
losing  thy  service, — Why  dost  thou  stop  my 
mouth?  50 

Laiince.  For  fear  thou  shouldst  lose  thy  tongue. 

Pan.  Where  should  I  lose  my  tongue? 

Launcc.  In  thy  tale. 

Pan.  In  thy  tail! 

Launce.  Lose  the  tide,  and  the  voyage,  and  the  mas- 
ter, and  the  service,  and  the  tied!  Why,  man, 
if  the  river  were  dry,  I  am  able  to  fill  it  with 
my  tears;  if  the  wind  were  down,  I  could  drive 
the  boat  with  my  sighs. 

Pan.  Come,  come  away,  man;   I  was  sent  to  call  thee.  60 

Launcc.  Sir,  call  me  what  thou  darest. 

Pan.  Wilt  thou  go? 

Launce.  Well,  I  will  go.  {Exeunt. 

Scene  IV. 

Milan.     The  Duke's  palace. 
Enter  Silvia,  Valentine,  Thurio,  and  Speed. 

Sil.  Servant! 

Val.  Mistress? 

Speed.  Master,  Sir  Thurio  frowns  on  you. 

Val.  Ay,  boy,  it 's  for  love. 

Speed.  Not  of  you. 

Val.  Of  my  mistress,  then. 

Speed.  'Twere  good  you  knocked  him.  [Exit. 

Sil.  Servant,  you  are  sad. 

Val.  Indeed,  madam,  I  seem  so. 

Thu.  Seem  you  that  you  are  not?  lO 

Val.  Haply  I  do. 

43 


Act  II.  Sc.  iv.  TWO  GENTLEMEN 

Tim.  So  do  counterfeits. 
Val.  So  do  you. 

Thu.  What  seem  I  that  I  am  not? 
Val  Wise. 

Thu.  Wliat  instance  of  the  contrary? 
Val.  Your  folly. 

Thu.  And  how  quote  you  my  folly? 
Val.  I  quote  it  in  your  jerkin. 

Thu.  My  jerkin  is  a  doublet.  20 

Val.  Well,  then,  I  '11  double  your  folly. 
Thu.  How? 

Sil.  What,  angry,  Sir  Thurio!  do  you  change  col- 
our? 

Val.  Give  him  leave,  madam;  he  is  a  kind  of  chame- 
leon. 

Thu.  That  hath  more  mind  to  feed  on  your  blood 

than  live  in  your  air. 
Val.  You  have  said,  sir. 

Thu.  Ay,  sir,  and  done  too,  for  this  time.  30 

Val.  I  know  it  well,  sir;    you  always  end  ere  you 

begin. 

Sil.  A  fine  volley  of  words,  gentlemen,  and  quickly 
shot  off. 

Val.  'Tis  indeed,  madam ;  we  thank  the  giver. 

Sil.  Who  is  that,  servant? 

Val.  Yourself,  sweet  lady;  for  you  gave  the  fire. 
Sir  Thurio  borrows  his  wit  from  your  lady- 
ship's looks,  and  spends  what  he  borrows  kindly 
in  your  company.  40 

Thu.  Sir,  if  you  spend  word  for  word  with  me,  I 
shall  make  your  wit  bankrupt. 

Val.  I  know  it  well,  sir;   you  have  an  exchequer  of 

44 


OF  VERONA  Act  II.  Sc.  iv 

words,  and,  I  think,  no  other  treasure  to  give 
your  followers,   for  it  appears,   by  their  bare 
liveries,  that  they  live  by  your  bare  words. 
Sil.  No  more,  gentlemen,  no  more: — here  comes  my 
father. 

Enter  Duke. 

Duke.  Now,  daughter  Silvia,  you  are  hard  beset. 

Sir  Valentine,  your  father 's  in  good  health:  50 

What  say  you  to  a  letter  from  your  friends 

Of  much  good  news? 
Val.  My  lord,  I  will  be  thankful 

To  any  happy  messenger  from  thence. 
Duke.  Know  ye  Don  Antonio,  your  countryman? 
Val.  Ay,  my  good  lord,  I  know  the  gentleman 

To  be  of  worth,  and  worthy  estimation. 

And  not  without  desert  so  well  reputed. 
Duke.  Hath  he  not  a  son? 
Val.  Ay,  my  good  lord ;   a  son  that  well  deserves 

The  honour  and  regfard  of  such  a  father.  60 

Duke.  You  know  him  well? 
Val.  I  know  him  as  myself;  for  from  our  infancy  f^^ 

We  have  conversed  and  spent  our  hours  together: 

And  though  myself  have  been  an  idle  truant,  jQ; 

Omitting  the  sweet  benefit  of  time 

To  clothe  mine  age  with  angel-like  perfection. 

Yet  hath  Sir  Proteus,  for  that 's  his  name. 

Made  use  and  fair  advantage  of  his  days ; 

His  years  but  young,  but  his  experience  old ; 

His  head  unmellow'd,  but  his  judgement  ripe;        70 

And,  in  a  word,  for  far  behind  his  worth 

Comes  all  the  praises  that  I  now  bestow, 

He  is  complete  in  feature  and  in  mind 

45 


Act  II.  Sc.  iv.  TWO  GENTLEMEN 

With  all  good  grace  to  grace  a  gentleman. 

Duke.  Beshrew  me,  sir,  but  if  he  make  this  good, 
He  is  as  worthy  for  an  empress'  love 
As  meet  to  be  an  emperor's  counsellor. 
Well,  sir,  this  gentleman  is  come  to  me. 
With  commendation  from  great  potentates; 
And  here  he  means  to  spend  his  time  awhile:         80 
I  think  'tis  no  unwelcome  news  to  you. 

Val.  Should  I  have  wish'd  a  thing,  it  had  been  he. 

Duke.  Welcome  him,  then,  according  to  his  worth. 
Silvia,  I  speak  to  you,  and  you,  Sir  Thurio, 
For  Valentine,  I  need  not  cite  him  to  it: 
I  will  send  him  hither  to  you  presently.  [Exit. 

Val.  This  is  the  gentleman  I  told  your  ladyship 

Had  come  along  with  me,  but  that  his  mistress 
Did  hold  his  eyes  lock'd  in  her  crystal  looks. 

Sil.  Belike  that  now  she  hath  enfranchised  them,  90 

Upon  some  other  pawn  for  fealty. 

Val.  Nay,  sure,  I  think  she  holds  them  prisoners  still. 

Sil.  Nay,  then,  he  should  be  blind;   and,  being  blind, 
How  could  he  see  his  way  to  seek  out  you? 

Val.  Why,  lady.  Love  hath  twenty  pair  of  eyes. 

Thu.  They  say  that  Love  hath  not  an  eye  at  all. 

Val.  To  see  such  lovers,  Thurio,  as  yourself: 
Upon  a  homely  object  Love  can  wink. 

Sil.  Have  done,  have  done;  here  comes  the  gentleman. 

Enter  Proteus. 

Val.  Welcome,  dear  Proteus!     Mistress,  I  beseech  you. 
Confirm  his  welcome  with  some  special  favour.     loi 

Sil.  His  worth  is  warrant  for  his  welcome  hither. 
If  this  be  he  you  oft  have  wish'd  to  hear  from. 
46 


OF  VERONA  Act  II.  Sc.  iv. 

Val.  Mistress,  it  is :   sweet  lady,  entertain  him 

To  be  my  fellow-servant  to  your  ladyship. 
Sil.  Too  low  a  mistress  for  so  high  a  servant. 
Pro.  Not  so,  sweet  lady:   but  too  mean  a  servant 

To  have  a  look  of  such  a  worthy  mistress. 
I'al.  Leave  off  discourse  of  disability: 

Sweet  lady,  entertain  him  for  your  servant.  no 

Pro.  My  duty  will  I  boast  of;  nothing  else. 
Sil.  And  duty  never  yet  did  want  his  meed: 

Servant,  you  are  welcome  to  a  worthless  mistress. 
Pro.  I  '11  die  on  him  that  says  so  but  yourself. 
Sil.  That  you  are  welcome? 
Pro.  That  you  are  worthless. 

Enter  Servant. 
Ser.  Madam,  my  lord  your  father  would  speak  with  you. 
Sil.  I  wait  upon  his   pleasure.   [Exit  Ser.]   Come,   Sir 
Thurio. 
Go  with  me.     Once  more,  new  servant,  welcome: 
I  '11  leave  you  to  confer  of  home  affairs ; 
When  you  have  done,  we  look  to  hear  from  you.  120 
Pro.  We  '11  both  attend  upon  your  ladyship. 

[Exeunt  Silvia  and  Thnrio. 
Val.  Now,  tell  me,  how  do  all  from  whence  you  came? 
Pro.  Your  friends  are  well,  and  have  them  much  com- 
mended. 
Val.  And  how  do  yours? 

Pro.  I  left  them  all  in  health. 

Val.  How  does  your  lady  ?  and  how  thrives  your  love  ? 
Pro.  My  tales  of  love  were  wont  to  weary  you; 

I  know  you  joy  not  in  a  love-discourse. 
Val.  Ay,  Proteus,  but  that  life  is  alter'd  now: 
I  have  done  penance  for  contemning  Love, 
Whose    high    imperious    thoughts    have    punish'd 
me  130 

47 


Act  II.  Sc.  iv.  TWO  GENTLEMEN 

With  bitter  fasts,  with  penitential  groans, 
With  nightly  tears,  and  daily  heart-sore  sighs; 
For,  in  revenge  of  my  contempt  of  love. 
Love  hath  chased  sleep  from  my  enthralled  eyes. 
And  made  them  watchers  of  mine  own  heart's  sor- 
row. 
O  gentle  Proteus,  Love  's  a  mighty  lord, 
And  hath  so  humbled  me,  as  I  confess 
There  is  no  woe  to  his  correction. 
Nor  to  his  service  no  such  joy  on  earth. 
Now  no  discourse,  except  it  be  of  love ;  140 

Now  can  I  break  my  fast,  dine,  sup  and  sleep, 
Upon  the  very  naked  name  of  love. 

Pro.  Enough;  I  read  your  fortune  in  your  eye. 
Was  this  the  idol  that  you  worship  so? 

Val.  Even  she;  and  is  she  not  a  heavenly  saint? 

Pro.  No;  but  she  is  an  earthly  paragon. 

Val.  Call  her  divine. 

Pro.  I  will  not  flatter  her. 

Val.  O,  flatter  me ;   for  love  delights  in  praises. 

Pro.  Wlien  I  was  sick,  you  gave  me  bitter  pills; 

And  I  must  minister  the  like  to  you.  150 

Val.  Then  speak  the  truth  by  her;  if  not  divine, 
Yet  let  her  be  a  principality, 
Sovereign  to  all  the  creatures  on  the  earth. 

Pro.  Except  my  mistress. 

Val.  Sweet,  except  not  any; 

Except  thou  wilt  except  against  my  love. 

Pro.  Have  I  not  reason  to  prefer  mine  own  ? 

Val.  And  I  will  help  thee  to  prefer  her  too: 

She  shall  be  dignified  with  this  high  honour, — 
To  bear  my  lady's  train,  lest  the  base  earth 
Should  from  her  vesture  chance  to  steal  a  kiss,    160 
48 


OF  VERONA  Act  II.  Sc.  iv. 

And,  of  so  great  a  favour  growing  proud, 
Disdain  to  root  the  summer-swelling  flower, 
And  make  rough  winter  everlastingly. 

Pro.  Why,  Valentine,  what  braggardism  is  this? 
Val.  Pardon  me,  Proteus :  all  I  can  is  nothing 

To  her,  whose  worth  makes  other  worthies  nothing; 

She  is  alone. 
Pro.  Then  let  her  alone. 

Val.  Not  for  the  world :   why,  man,  she  is  mine  own  ; 
And  I  as  rich  in  having  such  a  jewel 
As  twenty  seas,  if  all  their  sand  were  pearl,  170 

The  water  nectar,  and  the  rocks  pure  gold. 
Forgive  me,  that  I  do  not  dream  on  thee, 
Because  thou  see'st  me  dote  upon  my  love. 
My  foolish  rival,  that  her  father  likes 
Only  for  his  possessions  are  so  huge. 
Is  gone  with  her  along;   and  I  must  after, 
For  love,  thou  know'st,  is  full  of  jealousy. 

Pro,  But  she  loves  you  ? 

Val.  Ay,  and  wt  are  betroth'd:  nay,  more,  our  marriage- 
hour. 
With  all  the  cunning  manner  of  our  flight,  180 

Determined  of;  how  I  must  chmb  her  window; 
The  ladder  made  of  cords;   and  all  the  means 
Plotted  and  'greed  on  for  my  happiness. 
Good  Proteus,  go  with  me  to  my  chamber, 
In  these  affairs  to  aid  me  with  thy  counsel. 

Pro.  Go  on  before;  I  shall  inquire  you  forth: 
I  must  unto  the  road,  to  disembark 
Some  necessaries  that  I  needs  must  use; 
And  then  I  '11  presently  attend  you. 

Val.  Will  you  make  haste?  190 

49 


Act  II.  Sc.  V.  TWO  GENTLEMEN 

Pro.  I  will.  {Exit  Val. 

Even  as  one  heat  another  heat  expels, 
Or  as  one  nail  by  strength  drives  out  another. 
So  the  remembrance  of  my  former  love 
Is  by  a  newer  object  quite  forgotten. 
Is  it  mine  eye,  or  Valentines  praise 
Her  true  perfection,  or  my  false  transgression, 
That  makes  me  reasonless  to  reason  thus? 
She  is  fair;  and  so  is  Julia,  that  I  love, — 
That  I  did  love,  for  now  my  love  is  thaw'd;  200 

Which,  like  a  waxen  image  'gainst  a  fire, 
Bears  no  impression  of  the  thing  it  was. 
Methinks  my  zeal  to  Valentine  is  cold. 
And  that  I  love  him  not  as  I  was  wont. 
O,  but  I  love  his  lady  too  too  much! 
And  that 's  the  reason  I  love  him  so  little. 
How  shall  I  dote  on  her  with  more  advice. 
That  thus  without  advice  begin  to  love  her! 
'Tis  but  her  picture  I  have  yet  beheld. 
And  that  hath  dazzled  my  reason's  Hght;  210 

But  when  I  look  on  her  perfections. 
There  is  no  reason  but  I  shall  be  blind. 
\f)V  C    I^  I  can  check  my  erring  love,  I  will; 
^'  /t^  If  not,  to  compass  her  I  '11  use  my  skill..  [Exit. 

Scene  V. 

The  same.     A  street. 
Enter  Speed  and  Launce  severally. 

Speed.  Launce!  by  mine  honesty,  welcome  to  Pa- 
dua! 

Launce.  Forswear  not  thyself,  sweet  youth;  for  I  am 
not  welcome.  I  reckon  this  always — that  a  man 
.^0 


OF  VERONA  Act  II.  Sc.  v. 

is  never  undone  till  he  be  hanged;    nor  never 

welcome  to  a  place  till  some  certain  shot  be 

paid,  and  the  hostess  say  '  Welcome! ' 
Speed.  Come  on,  you  madcap,  I  '11  to  the  alehouse 

with  you  presently;  where,  for  one  shot  of  five 

pence,  thou  shalt  have  five  thousand  welcomes. 

But,    sirrah,    how   did   thy   master    part   with     lo 

Madam  Julia? 
Laiince.  Marry,  after  they  closed  in  earnest,  they 

parted  very  fairly  in  jest. 
Speed.  But  shall  she  marry  him? 
Launce.  No. 

Speed.  How,  then?  shall  he  marry  her? 
Launce.  No,  neither. 
Speed.  What,  are  they  broken? 
Launce.  No,  they  are  both  as  whole  as  a  fish. 
Speed.  Why,  then,  how  stands  the  matter  with  them?  20 
Launce.  Marry,  thus;   when  it  stands  well  with  him, 

it  stands  well  with  her. 
Speed.  What  an  ass  art  thou!     I  understand  thee 

not. 
Launce.  What  a  block  art  thou,  that  thou  canst  not. 

My  staff  understands  me. 
Speed.  What  thou  sayest? 
Launce.  Ay,  and  what  I  do  too:   look  thee,  I  '11  but 

lean,  and  my  staff  understands  me. 
Speed.  It  stands  under  thee,  indeed. 
Launce.  Why,  stand-under  and  under-stand  is  all     30 

one. 
Speed.  But  tell  me  true,  will 't  be  a  match? 
Launce,  Ask  my  dog :  if  he  say  ay,  it  will ;  if  he  say 

no,  it  will;  if  he  shake  his  tail  and  say  nothing, 

it  will. 
Speed.  The  conclusion  is,  then,  that  it  will. 

51 


Act  II.  Sc.  vi.  TWO  GENTLEMEN 

Laimce.  Thou  shalt  never  get  such  a  secret  from  me 

but  by  a  parable. 
Speed.  'Tis  well  that  I  get  it  so.     But,  Launce,  how 

sayest  thou,  that  my  master  is  become  a  notable 

lover?  40 

Laiince.  I  never  knew  him  otherwise. 
Speed.  Than  how? 
Launce.  A  notable  lubber,  as  thou  reportest  him  to 

be. 
Speed.  Why,  thou  whoreson  ass,  thou  mistakest  me. 
Laimce.  Why  fool,  I  meant  not  thee;    I  meant  thy 

master. 
Speed.  I  tell  thee,  my  master  is  become  a  hot  lover. 
Launce.  Why,  I  tell  thee,  I  care  not  though  he  burn 

himself  in  love.     If  thou  wilt,  go  with  me  to  the 

alehouse;    if  not,  thou  art  an  Hebrew,  a  Jew,     50 

and  not  worth  the  name  of  Christian. 
Speed.  Why? 
Laimce.  Because  thou  hast  not  so  much  charity  in 

thee  as  to  go  to  the  ale  with  a  Christian.     Wilt 

thou  go? 
Speed.  At  thy  service.  [Exeunt. 

Scene  VI. 

The  same.     The  Duke's  palace. 
Enter  Proteus. 

Pro.  To  leave  my  Julia,  shall  I  be  forsworn; 
To  love  fair  Silvia,  shall  I  be  forsworn; 
To  wrong  my  friend,  I  shall  be  much  forsworn; 
And  even  that  power,  which  gave  me  first  my  oath, 
Provokes  me  to  this  threefold  perjury; 
Love  bade  me  swear,  and  Love  bids  me  forswear. 

52 


OF  VERONA  Act  II.  Sc.  vi. 

0  sweet-suggesting  Love,  if  thou  hast  sinn'd, 
Teach  me,  thy  tempted  subject,  to  excuse  it! 
At  first  I  did  adore  a  twinkhng  star, 

But  now  I  worship  a  celestial  sun.  lo 

Unheedful  vows  may  heedfully  be  broken; 

And  he  wants  wit  that  wants  resolved  will 

To  learn  his  wit  to  exchange  the  bad  for  better. 

Fie,  fie,  unreverend  tongue!   to  call  her  bad, 

Whose  sovereignty  so  oft  thou  hast  preferr'd 

With  twenty  thousand  soul-confirming  oaths. 

1  cannot  leave  to  love,  and  yet  I  do; 

But  there  I  leave  to  love  where  I  should  love. 

Julia  I  lose,  and  Valentine  I  lose: 

If  I  keep  them,  I  needs  must  lose  myself;  20 

If  I  lose  them,  thus  find  I  by  their  loss 

For  Valentine,  myself,  for  Julia,  Silvia. 

Ltojn}[a£lLaiii.<ieareiM:han-a.lriend, 

For  loveis^illmost  preciousjn  itself ; 

And  Silvia — witness  Heaven,  that  made  her  fair! — 

Shows  Julia  but  a  swarthy  Ethiope. 

I  will  forget  that  Juli.^.is  alive. 

Remembering  that  my  love  to  her  is  dead; 

And  Valentine  I  '11  hold  an  enemy, 

Aimmg  at  Silvia  as  a  sweeter  friend.  30 

I  cannot  now  prove  constant  to  myself. 

Without  some  treachery  used  to  Valentine. 

This  night  he  meaneth  with  a  corded  ladder 

To  climb  celestial  Silvia's  chamber-window; 

Myself  in  counsel,  his  competitor. 

Now  presently  I  '11  give  her  father  notice 

Of  their  disguising  and  pretended  flight; 

Who,  all  enraged,  will  banish  Valentine; 

53 


Act  II.  Sc.  vii.  TWO  GENTLEMEN 

For  Thurio,  he  intends,  shall  wed  his  daughter; 
But,  Valentine  being  gone,  I  '11  quickly  cross         40 
By  some  sly  trick  blunt  Thurio's  dull  proceeding. 
Love,  lend  me  wings  to  make  my  purpose  swift. 
As  thou  hast  lent  me  wit  to  plot  this  drift! 

[Exit. 


Scene  VII. 

Verona.     Julia's  house. 
Enter  Julia  and  Lucetta. 

Jul.  Counsel,  Lucetta;  gentle  girl,  assist  me; 
And,  even  in  kind  love,  I  do  conjure  thee, 
Who  art  the  table  wherein  all  my  thoughts 
Are  visibly  character'd  and  engraved. 
To  lesson  me;   and  tell  me  some  good  mean, 
How,  with  my  honour,  I  may  undertake 
A  journey  to  my  loving  Proteus. 

Luc.  Alas,  the  way  is  wearisome  and  long! 

Jul.  A  true-devoted  pilgrim  is  not  weary 

To  measure  kingdoms  with  his  feeble  steps;  10 

Much  less  shall  she  that  hath  Love's  wings  to  fly, 
And  when  the  flight  is  made  to  one  so  dear, 
Of  such  divine  perfection,  as  Sir  Proteus. 

Luc.  Better  forbear  till  Proteus  make  return. 

Jill.  O,  know'st  thou  not,  his  looks  are  my  soul's  food? 
Pity  the  dearth  that  I  have  pined  in. 
By  longing  for  that  food  so  long  a  time. 
Didst  thou  but  know  the  inly  touch  of  love, 
Thou  wouldst  as  soon  go  kindle  fire  with  snow 
As  seek  to  quench  the  fire  of  love  with  words.        20 

54 


OF  VERONA  Act  II.  Sc.  vii. 

Luc.  I  do  not  seek  to  quench  your  love's  hot  fire, 
But  qualify  the  fire's  extreme  rage, 
Lest  it  should  burn  above  the  bounds  of  reason. 

Jul.  The  more  thou  damm'st  it  up,  the  more  it  burns. 
The  current  that  with  gentle  murmur  glides. 
Thou  know'st,  being  stopp'd,  impatiently  doth  rage; 
But  when  his  fair  course  is  not  hindered, 
He  makes  sweet  music  with  the  enamell'd  stones, 
Giving  a  gentle  kiss  to  every  sedge 
He  overtaketh  in  his  pilgrimage;  30 

And  so  by  many  winding  nooks  he  strays, 
With  willing  sport,  to  the  wild  ocean. 
Then  let  me  go,  and  hinder  not  my  course: 
I  '11  be  as  patient  as  a  gentle  stream, 
And  make  a  pastime  of  each  weary  step. 
Till  the  last  step  have  brought  me  to  my  love; 
And  there  I  '11  rest,  as  after  much  turmoil 
A  blessed  soul  doth  in  Elysium. 

Liic.  But  in  what  habit  will  you  go  along? 

Jul.  Not  like  a  woman;  for  I  would  prevent  40 

The  loose  encounters  of  lascivious  men: 
Gentle  Lucetta,  fit  me  with  such  weeds 
As  may  beseem  some  well-reputed  page. 

Luc.  Why,  then,  your  ladyship  must  cut  your  hair. 

Jul.  No,  girl;  I  '11  knit  it  up  in  silken  strings 

With  twenty  odd-conceited  true-love  knots. 

To  be  fantastic  may  become  a  youth 

Of  greater  time  than  I  shall  show  to  be. 

Luc.  Wliat  fashion,  madam,  shall  I  make  your  breeches? 

Jul.  That  fits  as  well  as,  '  Tell  me,  good  my  lord,  50 

What  compass  will  you  wear  your  farthingale? ' 
Why  even  what  fashion  thou  best  likest,  Lucetta. 


y 


Xct  II.  Sc.  vii.  TWO  GENTLEMEN 

Luc.  You    must    needs    have    them    with    a    codpiece, 

madam. 
Jul,  Out,  out,  Lucetta!   that  will  be  ill-favour'd. 
Luc.  A  round  hose,  madam,  now  's  not  worth  a  pin, 

Unless  you  have  a  codpiece  to  stick  pins  on. 
JuL  Lucetta,  as  thou  lovest  me,  let  me  have 

What  thou  think'st  meet,  and  is  most  mannerly. 

But  tell  me,  wench,  how  will  the  world  repute  me    ' 

For  undertaking  so  unstaid  a  journey?  60 

I  fear  me,  it  will  make  me  scandalized. 
Luc.  If  you  think  so,  then  stay  at  home,  and  go  not. 
Jul.  Nay,  that  I  will  not. 
Luc.  Then  never  dream  on  infamy,  but  go. 

If  Proteus  like  your  journey  when  you  come, 

No  matter  who  's  displeased  when  you  are  gone: 

I  fear  me,  he  will  scarce  be  pleased  withal. 
Jul.  That  is  the  least,  Lucetta,  of  my  fear: 

A  thousand  oaths,  an  ocean  of  his  tears. 

And  instances  of  infinite  of  love,  7^ 

Warrant  me  welcome  to  my  Proteus. 
Luc,  All  these  are  servants  to  deceitful  men. 
Jul,  Base  men,  that  use  them  to  so  base  efifect! 

But  truer  stars  did  govern  Proteus'  birth: 
«    His  words  are  bonds,  his  oaths  are  oracles; 

His  love  sincere,  his  thoughts  immaculate; 

His  tears  pure  messengers  sent  from  his  heart; 

His  heart  as  far  from  fraud  as  heaven  from  earth. 
Luc.  Pray  heaven  he  prove  so,  when  you  come  to  him! 
Jul.  Now,  as  thou  lovest  me,  do  him  not  that  wrong,    80 

To  bear  a  hard  opinion  of  his  truth: 

Only  deserve  my  love  by  loving  him; 

And  presently  go  with  me  to  my  chamber. 

To  take  a  note  of  what  I  stand  in  need  of, 

56 


OF  VERONA  Act  III.  Sc.  i. 

To  furnish  me  upon  my  longing  journey. 

All  that  is  mine  I  leave  at  thy  dispose, 

My  goods,  my  lands,  my  reputation; 

Only,  in  Heu  thereof,  dispatch  me  hence. 

Come,  answer  not,  but  to  it  presently! 

I  am  impatient  of  my  tarriance.  [Exeunt.     90 


ACT   THIRD. 
Scene  I. 

Milan.     Ante-room  in  the  Duke's  palace. 
Enter  Duke,  Thurio,  and  Proteus. 

Duke.  Sir  Thurio,  give  us  leave,  I  pray,  awhile ; 

We  have  some  secrets  to  confer  about.       [Exit  Thu. 

Now,  tell  me,  Proteus,  what 's  your  will  with  me? 
Pro.  My  gracious  lord,  thaj^^jch  I  would  discover 

The  law  of  friendship  bids  me  to  conceal; 

But  when  I  call  to  mind  your  gracious  favours 

Done  to  me,  undeserving  as  I  am. 

My  duty  pricks  me  on  to  utter  that 

Which  else  no  worldly  good  should.draw  from  me. 

Know,  worthy  prince,' Sir  Valentine,  my  friend,      10 

This  night  intends  to  steal  away  your  daughter: 

Myself  am  one  made  privy  to  the  plot. 

I  know  you  have  determined  to  bestow  her 

On  Thurio,  whom  your  gentle  daughter  hates; 

And  should  she  thus  be  stol'n  away  from  you. 

It  would  be  much  vexation  to  your  age. 

Thus,  for  my  duty's  sake,  I  rather  chose 

To  cross  my  friend  in  his  intended  drift 

57 


Act  III.  Sc.  i.  TWO  GENTLEMEN 

Than,  by  concealing  it,  heap  on  your  head 

A  pack  of  sorrows,  which  would  press  you  down,  20 

Being  unprevented,  to  your  timeless  grave. 

Duke.  Proteus,  I  thank  thee  for  thine  honest  care; 
Which  to  requite,  command  me  while  I  live. 
This  love  of  theirs  myself  have  often  seen, 
Haply  when  they  have  judged  me  fast  asleep; 
And  oftentimes  have  purposed  to  forbid 
Sir  Valentine  her  company  and  my  court: 
But,  fearing  lest  my  jealous  aim  might  err. 
And  so,  unworthily  disgrace  the  man, 
A  rashness  that  I  ever  yet  have  shunn'd,  30 

I  gave  him  gentle  looks;   thereby  to  find 
That  which  thyself  hast  now  disclosed  to  me. 
And,  that  thou  mayst  perceive  my  fear  of  this. 
Knowing  that  tender  youth  is  soon  suggested, 
I  nightly  lodge  her  in  an  upper  tower. 
The  key  whereof  myself  have  ever  kept; 
And  thence  she  cannot  be  convey'd  away. 

Pro.  Know,  noble  lord,  they  have  devised  a  mean 
How  he  her  chamber-window  will  ascend. 
And  with  a  corded  ladder  fetch  her  down;  40 

For  which  the  youthful  lover  now  is  gone. 
And  this  way  comes  he  with  it  presently; 
Where,  if  it  please  you,  you  may  intercept  him. 
B>it,  good  my  lord,  do  it  so  cunningly 
That  my  discovery  be  not  aimed  at; 
For,  love  of  you,  not  hate  unto  my  friend. 
Hath  made  me  publisher  of  this  pretence. 

Duke.  Upon  mine  honour,  he  shall  never  know 

That  I  had  any  light  from  thee  of  this.  49 

Pro.  Adieu,  my  lord;    Sir  Valentine  is  coming.     [Exit. 

58 


OF  VERONA  Act  III.  Sc.  i. 

Enter  Valentine. 

Duke.  Sir  Valentine,  whither  away  so  fast? 
Val.  Please  it  your  grace,  there  is  a  messenger 

That  stays  to  bear  my  letters  to  my  friends, 

And  I  am  going  to  deliver  them. 

Duke.  Be  they  of  much  import? 

Vnl.  The  tenour  of  them  doth  but  signify 

My  health  and  happy  being  at  your  court. 

Duke.  Nay,  then,  no  matter;  stay  with  me  awhile; 
I  am  to  break  with  thee  of  some  affairs 
That  touch  me  near,  wherein  thou  must  be  secret. 
'Tis  not  unknown  to  thee  that  I  have  sought        6i 
To  match  my  friend  Sir  Thurio  to  my  daughter. 

Val.  I  know  it  well,  my  lord ;   and,  sure,  the  match 

Were  rich  and  honourable;   besides,  the  gentleman 
Is  full  of  virtue,  bounty,  worth  and  qualities 
Beseeming  such  a  wife  as  your  fair  daughter: 
Cannot  your  grace  win  her  to  fancy  him  ? 

Duke.  No,  trust  me;   she  is  peevish,  sullen,  froward, 
Proud,  disobedient,  stubborn,  lacking  duty; 
Neither  regarding  that  she  is  my  child,  70 

Nor  fearing  me  as  if  I  were  her  father: 
And,  may  I  say  to  thee,  this  pride  of  hers, 
Upon  advice,  hath  drawn  my  love  from  her; 
And,  where  I  thought  the  remnant  of  mine  age 
Should  have  been  cherish'd  by  her  child-like  duty, 
I  now  am  full  resolved  to  take  a  wife. 
And  turn  her  out  to  who  will  take  her  in: 
Then  let  her  beauty  be  her  wedding-dower; 
For  me  and  my  possessions  she  esteems  not. 

VaL  What  would  your  grace  have  me  to  do  in  this  ?    80 

59 


Act  III.  Sc.  i.  TWO  GENTLEMEN 

Duke.  There  is  a  lady  in  Verona  here 

Whom  I  affect;  but  she  is  nice  and  coy, 
And  nought  esteems  my  aged  eloquence: 
Now,  therefore,  wovild  I  have  thee  to  my  tutor, — 
For  long  agone  I  have  forgot  to  court; 
Besides,  the  fashion  of  the  time  is  changed, — 
How  and  which  way  I  may  bestow  myself, 
To  be  regarded  in  her  sun-bright  eye. 

Val.  Win  her  with  gifts,  if  she  respect  not  words: 

Dumb  jewels  often  in  their  silent  kind  90 

More  than  quick  words  do  move  a  woman's  mind. 

Duke.  But  she  did  scorn  a  present  that  I  sent  her. 

Val.  A  woman  sometimes  scorns  what  best  contents  her. 
Send  her  another;   never  give  her  o'er; 
For  scorn  at  first  makes  after-love  the  more. 
If  she  do  frown,  'tis  not  in  hate  of  you. 
But  rather  to  beget  more  love  in  you: 
If  she  do  chide,  'tis  not  to  have  you  gone; 
For  why,  the  fools  are  mad,  if  left  alone. 
Take  no  repulse,  whatever  she  doth  say;  100 

For  '  get  you  gone,'  she  doth  not  mean  *away! ' 
Flatter  and  praise,  commend,  extol  their  graces; 
Though  ne'er  so  black,  say  they  have  angels'  faces. 
That  man  that  hath  a  tongue,  I  say,  is  no  man. 
If  with  his  tongue  he  cannot  win  a  woman. 

Duke.  But  she  I  mean  is  promised  by  her  friends 
Unto  a  youthful  gentleman  of  worth; 
And  kept  severely  from  resort  of  men. 
That  no  man  hath  access  by  day  to  her. 

Val.  Why,  then,  I  would  resort  to  her  by  night.         no 

Duke.  Ay,  but  the  doors  be  lock'd,  and  keys  kept  safe. 
That  no  man  hath  recourse  to  her  by  night. 

60 


or  VERONA  Act  III.  Sc.  i. 

Val.  What  lets  but  one  may  enter  at  her  window? 
Duke.  Her  chamber  is  aloft,  far  from  the  ground, 

And  built  so  shelving,  that  one  cannot  climb  it 

Without  apparent  hazard  of  his  life. 
Val.  Why,  then,  a  ladder,  quaintly  made  of  cords, 

To  cast  up,  with  a  pair  of  anchoring  hooks, 

Would  serve  to  scale  another  Hero's  tower, 

So  bold  Leander  would  adventure  it.  120 

Ditkc.  Now,  as  thou  art  a  gentleman  of  blood. 

Advise  me  where  I  may  have  such  a  ladder. 
Val.  When  would  you  use  it?  pray,  sir,  tell  me  that. 
Duke.  This  very  night;  for  Love  is  like  a  child, 

That  longs  for  every  thing  that  he  can  come  by. 
Val.  By  seven  o'clock  I  '11  get  you  such  a  ladder. 
Duke.  But,  hark  thee;  I  will  go  to  her  alone: 

How  shall  I  best  convey  the  ladder  thither? 
Val.  It  will  be  light,  my  lord,  that  you  may  bear  it 

Under  a  cloak  that  is  of  any  length.  130 

Duke.  A  cloak  as  long  as  thine  will  serve  the  turn? 
Val.  Ay,  my  good  lord. 
Duke.  Then  let  me  see  thy  cloak: 

I  '11  get  me  one  of  such  another  length. 
Val.  Why,  any  cloak  will  serve  the  turn,  my  lord. 
Duke.  How  shall  I  fashion  me  to  wear  a  cloak? 

I  pray  thee,  let  me  feel  thy  cloak  upon  me. 

What  letter  is  this  same?     What's  here?     'To  Sil- 
via'! 

And  here  an  engine  fit  for  my  proceeding. 

I  '11  be  so  bold  to  break  the  seal  for  once.      [Reads. 

*  My  thoughts  do  harbour  with  my  Silvia  nightly ; 
And  slaves  they  are  to  me,  that  send  them  flying: 

O,  could  their  master  come  and  go  as  lightly,      142 
Himself  would  lodge  where  senseless  they  are 
lying! 

61 


Act  III.  Sc.  i.  TWO  GENTLEMEN 

My  herald  thoughts  in  thy  pure  bosom  rest  them; 

While  I,  their  king,  that  thither  them  importune, 
Do  curse  the  grace  that  with  such  grace  hath  bless'd 
them, 

Because  myself  do  want  my  servants'  fortune: 
I  curse  myself,  for  they  are  sent  by  me, 
That  they  should  harbour  where  their  lord  would 

be.' 
What's  here?  150 

*  Silvia,  this  night  I  will  enfranchise  thee.' 
'Tis  so;  and  here  's  the  ladder  for  the  purpose. 
Why,  Phaethon, — for  thou  art  Alerops'  son, — 
Wilt  thou  aspire  to  guide  the  heavenly  car, 
And  with  thy  daring  folly  burn  the  world? 
Wilt  thou  reach  stars,  because  they  shine  on  thee? 
Go,  base  intruder!   overweening  slave! 
Bestow  thy  fawning  smiles  on  equal  mates; 
And  think  my  patience,  more  than  thy  desert, 
Is  privilege  for  thy  departure  hence:  160 

Thank  me  for  this  more  than  for  all  the  favours. 
Which  all  too  much  I  have  bestow'd  on  thee. 
But  if  thou  linger  in  my  territories 
Longer  than  swiftest  expedition 
Will  give  thee  time  to  leave  our  royal  court. 
By  heaven!   my  wrath  shall  far  exceed  the  love 
I  ever  bore  my  daughter  or  thyself. 
Be  gone!   I  will  not  hear  thy  vain  excuse; 
But,  as  thou  lovest  thy  life,  make  speed  from  hence. 

[Exit. 

Val.  And  why  not  death  rather  than  living  torment?  170 
To  die  is  to  be  banish'd  from  myself; 
And  Silvia  is  myself:   banish'd  from  her, 
Is  self  from  self:  a  deadly  banishment! 
62 


OF  VERONA  Act  III.  Sc.  i. 

What  light  is  Hght,  if  Silvia  be  not  seen? 

What  joy  is  joy,  if  Silvia  be  not  by? 

Unless  it  be  to  think  that  she  is  by, 

And  feed  upon  the  shadow  of  perfection. 

Except  I  be  by  Silvia  in  the  night, 

There  is  no  music  in  the  nightingale; 

Unless  I  look  on  Silvia  in  the  day,  l8o 

There  is  no  day  for  me  to  look  upon: 

She  is  my  essence;   and  I  leave  to  be, 

If  I  be  not  by  her  fair  influence 

Foster'd,  illumined,  cherish'd,  kept  alive, 

I  fly  not  death,  to  fly  his  deadly  doom: 

Tarry  I  here,  I  but  attend  on  death: 

But,  fly  I  hence,  I  fly  away  from  life.    ^ 

Enter  Proteus  and  Launce. 

Pro.  Run,  boy,  run,  run,  and  seek  him  out. 

Laiinee.  Soho,  soho! 

Pro.  What  seest  thou?  190 

Launce,  Him  we  go  to  find  :   there 's  not  a  hair  on  's 

head  but  'tis  a  Valentine. 
Pro.  Valentine? 
Val.  No. 

Pro.  Who  then?   his  spirit? 
Val.  Neither. 
Pro.  What  then? 
Val.  Nothing. 

Launce.  Can  nothing  speak?     Master,  shall  I  strike? 
Pro.  Who  wouldst  thou  strike?  20O 

Launce.  Nothing. 
Pro.  Villain,  forbear. 
Launce.  Why,  sir,  I  '11  strike  nothing:   I  pray  you, — 

63 


Act  III.  Sc.  i.  TWO  GENTLEMEN 

Pro.  Sirrah,  I  say,  forbear.     Friend  Valentine,  a  word. 

Val.  My  ears  are  stopt,  and  cannot  hear  good  news, 
So  much  of  bad  already  hath  possess'd  them. 

Pro.  Then  in  dumb  silence  will  I  bury  mine, 
For  they  are  harsh,  untuneable,  and  bad. 

Val.  Is  Silvia  dead? 

Pro.  No,  Valentine.  210 

Val.  No  Valentine,  indeed,  for  sacred  Silvia. 
Hath  she  forsworn  me? 

Pro.  No,  Valentine. 

Val.  No  Valentine,  if  Silvia  have  forsworn  me. 
What  is  your  news? 

Launcc.  Sir,  there  is  a  proclamation  that  you  are  van- 
ished. 

Pro.  That  thou  art  banished — O,  that's  the  news! — 
From  hence,  from  Silvia,  and  from  me  thy  friend. 

Val.  O,  I  have  fed  upon  this  woe  already. 

And  now  excess  of  it  will  make  me  surfeit.  220 

Doth  Silvia  know  that  I  am  banished? 

Pro.  Ay,  ay;  and  she  hath  ofifer'd  to  the  doom — 
W^hich,  unreversed,  stands  in  effectual  force — 
A  sea  of  melting  pearl,  which  some  call  tears : 
Those  at  her  father's  churlish  feet  she  tender'd; 
With  them,  upon  her  knees,  her  humble  self; 
Wringing  her  hands,  whose  whiteness  so  became 

them 
As  if  but  now  they  waxed  pale  for  woe: 
But  neither  bended  knees,  pure  hands  held  up, 
Sad  sighs,  deep  groans,  nor  silver-shedding  tears,  230 
Could  penetrate  her  uncompassionate  sire; 
But  Valentine,  if  he  be  ta'en,  must  die. 
Besides,  her  intercession  chafed  him  so. 
When  she  for  thy  repeal  was  suppliant, 
That  to  close  prison  he  commanded  her, 

64 


OF  VERONA  Act  III.  Sc.  i. 

With  many  bitter  threats  of  biding  there. 
Val.  No  more;   unless  the  next  word  that  thou  speak'st 
Have  some  mahgnant  power  upon  my  Hfe: 
If  so,  I  pray  thee,  breathe  it  in  mine  ear, 
As  ending  anthem  of  my  endless  dolour.  240 

Pro.  Cease  to  lament  for  that  thou  canst  not  help, 
And  study  help  for  that  which  thou  lament'st. 
Time  is  the  nurse  and  breeder  of  all  good. 
Here  if  thou  stay,  thou  canst  not  see  thy  love; 
Besides,  thy  staying  will  abridge  thy  life. 
Hope  is  a  lover's  stafif;  walk  hence  with  that, 
And  manage  it  against  despairing  thoughts. 
Thy  letters  may  be  here,  though  thou  art  hence; 
Which,  being  writ  to  me,  shall  be  deliver'd 
Even  in  the  milk-white  bosom  of  thy  love.  2^ 

The  time  now  serves  not  to  expostulate: 
Come,  I  '11  convey  thee  through  the  city-gate; 
And,  ere  I  part  with  thee,  confer  at  large 
Of  all  that  may  concern  thy  love-afifairs. 
As  thou  lovest  Silvia,  though  not  for  thyself, 
Regard  thy  danger,  and  along  with  me  I 

Val.  I  pray  thee,  Launce,  an  if  thou  seest  my  boy,    . 
Bid  him  make  haste,  and  meet  me  at  the  North- 
gate. 

Pro.  Go,  sirrah,  find  him  out.     Come,  Valentine. 

Val.  O  my  dear  Silvia!     Hapless  Valentine!  260 

[Exeunt  Val.  and  Pro, 

Latmce.  I  am  but  a  fool,  look  you;  and  yet  I  have 
the  wit  to  think  my  master  is  a  kind  of  a  knave: 
but  that 's  all  one,  if  he  be  but  one  knave.  He 
lives  not  now  that  knows  me  to  be  in  love;  yet 
I  am  in  love;    but  a  team  of  horse  shall  not 

6s 


Act  III.  Sc. 


TWO  GENTLEMEN 


pluck  that  from  me;  nor  who  'tis  I  love;  and 
yet  'tis  a  woman;  but  what  woman,  I  will  not 
tell  myself;  and  yet 'tis  a  milkmaid;  yet 'tis  not 
a  maid,  for  she  hath  had  gossips;  yet  'tis  a 
maid,  for  she  is  her  master's  maid,  and  serves  270 
for  wages.  She  hath  more  qualities  than  a 
water-spaniel, — which  is  much  in  a  bare  Chris- 
tian. [Pulling  out  a  paper.]  Here  is  the  cate- 
log  of  her  condition.  '  Imprimis:  She  can  fetch 
and  carry.'  Why,  a  horse  can  do  no  more: 
nay,  a  horse  cannot  fetch,  but  only  carry;  there- 
fore is  she  better  than  a  jade.  '  Item :  She  can 
milk  ';  look  you,  a  sweet  virtue  in  a  maid  with 
clean  hands. 

Enter  Speed. 

Speed.  How  now,  Signior  Launce !   what  news  with 

your  mastership?  280 

Lmmce.  With  my  master's  ship?  why,  it  is  at  sea. 
Speed.  Well,  your  old  vice  still;   mistake  the  word. 

What  news,  then,  in  your  paper? 
Launce.  The  blackest  news  that  ever  thou  heardest. 
Speed.  Why,  man,  how  black? 
Launce.  W^hy,  as  black  as  ink. 
Speed.  Let  me  read  them. 

Launce.  Fie  on  thee,  jolt-head!  thou  canst  not  read. 
Speed.  Thou  Hest;   I  can. 
Launce.  I  will  try  thee.     Tell  me  this:    who  begot  290 

thee? 
Speed.  Marry,  the  son  of  my  grandfather. 
Launce.  O  illiterate  loiterer!    it  was  the  son  of  thy 

grandmother:    this  proves  that  thou  canst  not 

read. 
Speed.  Come,  fool,  come;   try  me  in  thy  paper. 

66 


OF  VERONA  Act  III.  Sc.  i. 

Launcc.  There;  and  Saint  Nicholas  be  thy  speed! 

Speed.   [Reads]   '  Imprimis :   She  can  milk.' 

Launce.  Ay,  that  she  can. 

Speed.  '  Item:   She  brews  good  ale.' 

Launce.  And  thereof  comes  the  proverb:   'Blessing  300 
of  your  heart,  you  brew  good  ale.' 

Speed.  '  Item :   She  can  sew.' 

Launce.  That 's  as  much  as  to  say,  Can  she  so? 

Speed.  '  Item :   She  can  knit.' 

Launce.  What  need  a  man  care  for  a  stock  with  a 
wench,  when  she  can  knit  him  a  stock? 

Speed.  '  Item:   She  can  w^ash  and  scour.' 

Launce.  A  special  virtue;  for  then  she  need  not  be 
washed  and  scoured. 

Speed.  'Item:   She  can  spin.'  310 

Launce.  Then  may  I  set  the  world  on  wheels,  when 
she  can  spin  for  her  living. 

Speed.  '  Item :   She  hath  many  nameless  virtues.' 

Launce.  That's  as  much  as  to  say,  bastard  virtues; 
that,  indeed,  know  not  their  fathers,  and  there- 
fore have  no  names. 

Speed.  '  Here  follow  her  vices.' 

Launce.  Close  at  the  heels  of  her  virtues. 

Speed.  '  Item:  She  is  not  to  be  kissed  fasting,  in  re- 
spect of  her  breath.'  320 

Launce.  Well,  that  fault  may  be  mended  with  a 
breakfast.     Read  on. 

Speed.  '  Item :  She  hath  a  sweet  mouth.' 

Launce.  That  makes  amends  for  her  sour  breath. 

Speed.  '  Item:   She  doth  talk  in  her  sleep.' 

Launce.  It 's  no  matter  for  that,  so  she  sleep  not  in 
her  talk. 

67 


Act  IIL  Sc.  i.  TWO  GENTLEMEN 

Speed.  'Item:   She  is  slow  in  words.' 

Laiincc.  O   villain,  that  set  this   down  among  her 

vices!     To  be  slow  in  words  is  a  woman's  only  330 
virtue:   I  pray  thee,  out  with  't,  and  place  it  for 
her  chief  virtue. 

Speed.  'Item:   She  is  proud.' 

Laiince.  Out  with  that  too;  it  was  Eve's  legacy,  and 
cannot  be  ta'en  from  her. 

Speed.  '  Item :   She  hath  no  teeth.' 

Launce.  I  care  not  for  that  neither,  because  I  love 
crusts. 

Speed.  'Item:   She  is  curst.' 

Launce.  Well,  the  best  is,  she  hath  no  teeth  to  bite.    340 

Speed.  '  Item:   She  will  often  praise  her  liquor.' 

Launce.  If  her  Hquor  be  good,  she  shall:  if  she  will 
not,  I  will;  for  good  things  should  be  praised. 

Speed.  '  Item:   She  is  too  liberal.' 

Launce.  Of  her  tongue  she  cannot,  for  that 's  writ 
down  she  is  slow^  of;  of  her  purse  she  shall  not, 
for  that  I  '11  keep  shut:  now,  of  another  thing 
she  may,  and  that  cannot  I  help.  Well,  pro- 
ceed. 350 

Speed.  '  Item :  She  hath  more  hair  than  wit,  and 
more  faults  than  hairs,  and  more  wealth  than 
faults.' 

Launce.  Stop  there;  I'll  have  her:  she  was  mine, 
and  not  mine,  twice  or  thrice  in  that  last  article. 
Rehearse  that  once  more. 

Speed.  'Item:   She  hath  more  hair  than  wit,' — 

Launce.  More  hair  than  wit?     It  may  be;   I '11  prove 
it.     The  cover  of  the  salt  hides  the  salt,  and 
therefore  it  is  more  than  the  salt;   the  hair  that 
68 


OF  VERONA  Act  III.  Sc.  ii. 

covers  the  wit  is  more  than  the  wit,  for  the  360 
greater  hides  the  less.     What's  next? 

Speed.  '  And  more  fauhs  than  hairs,' — 

Laiince.  That 's  monstrous:   O,  that  that  were  out! 

Speed.  '  And  more  wealth  than  faults.' 

Launce.  Why,  that  word  makes  the  faults  gracious. 
Well,  I'll  have  her:  and  if  it  be  a  match,  as 
nothing  is  impossible, — 

Speed.  What  then? 

Launce.  Why,  then  will  I  tell  thee — that  thy  master 

stays  for  thee  at  the  North-gate.  370 

Speed.  For  me? 

Launce.  For  thee!  ay,  who  art  thou?  he  hath  stayed 
for  a  better  man  than  thee. 

Speed.  And  must  I  go  to  him? 

Launce.  Thou  must  run  to  him,  for  thou  hast  stayed 
so  long,  that  going  w^ill  scarce  serve  the  turn. 

Speed.  Why  didst  not  tell  me  sooner?   pox  of  your 

love-letters!  [Exit. 

Launce.  Now  will  he  be  swinged  for  reading  my  let- 
ter,— an  unmannerly  slave,  that  will  thrust  him-  380 
self  into  secrets!     I'll  after,  to  rejoice  in  the 
boy's  correction.  [Exit. 

Scene  II. 

The  same.     The  Duke's  palace. 
Enter  Duke  and  Thurio. 

Duke.  Sir  Thurio,  fear  not  but  that  she  will  love  you, 
Now  Valentine  is  banish'd  from  her  sight. 

Thu.  Since  his  exile  she  hath  despised  me  most, 
Forsworn  my  company,  and  rail'd  at  me, 

69 


Act  III.  Sc.  ii.  TWO  GENTLEMEN 

That  I  am  desperate  of  obtaining  her. 
Duke.  This  weak  impress  of  love  is  as  a  figure 
Trenched  in  ice,  which  with  an  hour's  heat 
Dissolves  to  water,  and  doth  lose  his  form. 
A  little  time  will  melt  her  frozen  thoughts, 
And  worthless  Valentine  shall  be  forgot.  lo 

Enter  Proteus. 

How  now,  Sir  Proteus!     Is  your  countryman, 
According  to  our  proclamation,  gone? 

Pro.  Gone,  my  good  lord. 

Duke.  My  daughter  takes  his  going  grievously. 

Pro.  A  little  time,  my  lord,  will  kill  that  grief. 

Duke.  So  I  believe;  but  Thurio  thinks  not  so. 
Proteus,  the  good  conceit  I  hold  of  thee — 
For  thou  hast  shown  some  sign  of  good  desert — 
Makes  me  the  better  to  confer  with  thee. 

Pj'o.  Longer  than  I  prove  loyal  to  your  grace  20 

Let  me  not  live  to  look  upon  your  grace. 

Duke.  Thou  know'st  how  willingly  I  would  effect 

The  match  between  Sir  Thurio  and  my  daughter. 

Pro.  I  do,  my  lord. 

Duke.  And  also,  I  think,  thou  art  not  ignorant 
How  she  opposes  her  against  my  will. 

Pro.  She  did,  my  lord,  when  Valentine  was  here. 

Duke.  Ay,  and  perversely  she  persevers  so. 

What  might  we  do  to  make  the  girl  forget 

The  love  of  Valentine,  and  love  Sir  Thurio?        30 

P7'o.  The  best  way  is  to  slander  Valentine  >. 

With  falsehood,  cowardice  and  poor  descent,\ 
Three  things  that  women  highly  hold  in  hate^^ 

Duke.  Ay,  but  she  '11  think  that  it  is  spoke  in  hate. 

70 


OF  VERONA  Act  III.  Sc.  ii. 

Pro.  Ay,  if  his  enemy  deliver  it: 

Therefore  it  must  with  circumstance  be  spoken 
By  one  whom  she  esteemeth  as  his  friend. 

Duke.  Then  you  must  undertake  to  slander  him. 
Pro.  And  that,  my  lord,  I  shall  be  loath  to  do: 

'Tis  an  ill  office  for  a  gentleman,\  40 

Especially  against  his  very  friend,  i 

Duke.  Where  your  good  word  cannot  advantage  him, 
Your  slander  never  can  endamage  him; 
Therefore  the  office  is  indifferent, 
Being  entreated  to  it  by  your  friend. 

Pro.  You  have  prevail'd,  my  lord:   if  I  can  do  it 
By  aught  that  I  can  speak  in  his  dispraise, 
She  shall  not  long  continue  love  to  him. 
But  say  this  weed  her  love  from  Valentine, 
It  follows  not  that  she  will  love  Sir  Thurio.  50 

Thu.  Therefore,  as  you  unwind  her  love  from  him, 
Lest  it  should  ravel  and  be  good  to  none, 
You  must  provide  to  bottom  it  on  me; 
Which  must  be  done  by  praising  me  as  much 
As  you  in  worth  dispraise  Sir  Valentine. 

Duke.  And,  Proteus,  we  dare  trust  you  in  this  kind. 
Because  we  know,  on  Valentine's  report. 
You  are  already  Love's  firm  votary, 
And  cannot  soon  revolt  and  change  your  mind. 
Upon  this  warrant  shall  you  have  access  60 

Where  you  with  Silvia  may  confer  at  large; 
For  she  is  lumpish,  heavy,  melancholy. 
And,  for  your  friend's  sake,  will  be  glad  of  you; 
Where  you  may  temper  her  by  your  persuasion 
To  hate  young  Valentine  and  love  my  friend. 

Pro.  As  much  as  I  can  do,  I  will  effect : 

71 


Act  III.  Sc.  ii.  TWO  GENTLEMEN 

But  you,  Sir  Thurio,  are  not  sharp  enough ; 
You  must  lay  Hme  to  tangle  her  desires 
By  wailful  sonnets,  whose  composed  rhymes 
Should  be  full-fraught  with  serviceable  vows.       70 

Duke.  Ay, 

Much  is  the  force  of  heaven-bred  poesy. 

Pro.  Say  that  upon  the  altar  of  her  beauty 

You  sacrifice  your  tears,  your  sighs,  your  heart: 
Write  till  your  ink  be  dry,  and  with  your  tears 
Moist  it  again;  and  frame  some  feoling  line 
That  may  discover  such  integrity: 
For  Orpheus'  lute  was  strung  with  poets'  sinews; 
Whose  golden  touch  could  soften  steel  and  stones. 
Make  tigers  tame,  and  huge  leviathans  80 

Forsake  unsounded  deeps  to  dance  on  sands. 
After  your  dire-lamenting  elegies, 
Visit  by  night  your  lady's  chamber-window 
With  some  sweet  consort;   to  their  instruments 
Tune  a  deploring  dump:  the  night's  dead  silence 
Will  well  become  such  sweet-complaining  grievance. 
This,  or  else  nothing,  will  inherit  her. 

Duke.  This  discipline  shows  thou  hast  been  in  love. 

Thu.  And  thy  advice  this  night  I  '11  put  in  practice. 

Therefore,  sweet  Proteus,  my  direction-giver,        90 

Let  us  into  the  city  presently 

To  sort  some  gentlemen  well  skill'd  in  music. 

I  have  a  sonnet  that  will  serve  the  turn 

To  give  the  onset  to  thy  good  advice. 

Duke.  About  it,  gentlemen! 

Fro.  We  '11  wait  upon  your  grace  till  after  supper. 

And  afterward  determine  our  proceedings. 
Duke.  Even  now  about  it!     I  will  pardon  you.     {Exeunt. 

72 


OF  VERONA  Act  IV.  Sc.  i. 

ACT  FOURTH. 
Scene  I. 

The  frontiers  of  Mantua.     A  forest. 

Enter  certain  Outlaws. 

First  Out.  Fellows,  stand  fast;  I  see  a  passenger. 

Sec.  Out.  If  there  be  ten,  shrink  not,  but  down  with  'em. 

Enter  Valentine  and  Speed. 

Third  Out.  Stand,  sir,  and  throw  us  that  you  have  about 
ye: 
If  not,  we  '11  make  you  sit,  and  rifle  you. 

Speed.  Sir,  we  are  undone;  these  are  the  villains 
That  all  the  travellers  do  fear  so  much. 

Val.  My  friends, — 

First  Out.  That 's  not  so,  sir:  we  are  your  enemies. 

Sec.  Out.  Peace !  we  '11  hear  him. 

Third  Out.  Ay,  by  my  beard,  will  we,  for  he 's  a  proper 
man.  lo 

Val.  Then  know  that  I  have  little  wealth  to  lose: 
A  man  I  am  cross'd  with  adversity; 
My  riches  are  these  poor  habiliments. 
Of  which  if  you  should  here  disfurnish  me, 
You  take  the  sum  and  substance  that  I  have. 

Sec.  Out.  Whither  travel  you? 

Val.  To  Verona. 

First  Out.  Whence  came  you? 

Val.  From  Milan. 

Third  Out.  Have  you  long  sojourned  there?  20 

Val.  Some  sixteen  months,  and  longer  might  have  stay'd, 

7Z 


Act  IV.  Sc.  I.  TWO  GENTLEMEN 

If  crooked  fortune  had  not  thwarted  me. 
First  Out.  What,  were  you  banish'd  thence? 
Val.  I  was. 

Sec.  Out.  For  what  offence? 
Val.  For  that  which  now  torments  me  to  rehearse: 

I  kill'd  a  man,  whose  death  I  much  repent; 

But  yet  I  slew  him  manfully  in  fight, 

Without  false  vantage  or  base  treachery. 
First  Out.  Why,  ne'er  repent  it,  if  it  were  done  so.        30 

But  were  you  banish'd  for  so  small  a  fault? 
Val.  I  was,  and  held  me  glad  of  such  a  doom. 
Sec.  Out.  Have  you  the  tongues? 
Val.  My  youthful  travel  therein  made  me  happy. 

Or  else  I  often  had  been  miserable. 
Third  Out.  By  the  bare  scalp  of  Robin  Hood's  fat  friar, 

This  fellow  were  a  king  for  our  wild  faction! 
First  Out.  We  '11  have  him.     Sirs,  a  word. 
Speed.  Master,  be  one  of  them;   it's  an  honourable 

kind  of  thievery.  40 

Val.  Peace,  villain! 

Sec.  Out.  Tell  us  this  :  have  you  any  thing  to  take  to? 
Val.  Nothing  but  my  fortune. 
Third  Out.  Know,  then,  that  some  of  us  are  gentlemen, 

Siich  as  the  fury  of  ungovern'd  youth 

Thrust  from  the  company  of  awful  men: 

Myself  was  from  Verona  banished 

For  practising  to  steal  away  a  lady. 

An  heir,  and  near  allied  unto  the  duke. 
Sec.  Out.  And  I  from  Mantua,  for  a  gentleman,  50 

Who,  in  my  mood,  I  stabb'd  unto  the  heart. 
First  Out.  And  I  for  such  Hke  petty  crimes  as  these. 

But  to  the  purpose, — for  we  cite  our  faults, 

74 


OF  VERONA  Act  IV.  Sc.  ii. 

That  they  may  hold  excused  our  lawless  lives ; 
And  partly,  seeing  you  are  beautified 
With  goodly  shape,  and  by  your  own  report 
A  Hnguist,  and  a  man  of  such  perfection 
As  we  do  in  our  quality  much  want, — 

Sec.  Out.  Indeed,  because  you  are  a  banish'd  man, 

Therefore,  above  the  rest,  we  parley  to  you:  60 

Are  you  content  to  be  our  general? 

To  make  a  virtue  of  necessity, 

And  live,  as  we  do,  in  this  wilderness? 

Third  Out.  What  say'st  thou?   wilt  thou  be  of  our  con- 
sort? 
Say  ay,  and  be  the  captain  of  us  all : 
We  '11  do  thee  homage  and  be  ruled  by  thee. 
Love  thee  as  our  commander  and  our  king. 

First  Out.  But  if  thou  scorn  our  courtesy,  thou  diest. 

Sec.  Out.  Thou   shalt   not  live   to   brag  what  we   have 
ofifer'd. 

Val.  I  take  your  offer,  and  will  live  with  you,  70 

Provided  that  you  do  no  outrages 
On  silly  women  or  poor  passengers. 

Third  Out.  No,  we  detest  such  vile  base  practices. 
Come,  go  with  us,  we  '11  bring  thee  to  our  crews. 
And  show  thee  all  the  treasure  we  have  got; 
Which,  with  ourselves,  all  rest  at  thy  dispose. 

[Exeunt. 

Scene  II. 

Milan.     Outside  the  Duke's  palace, 
under  Silvia's  chamber. 

Enter  Proteus.  \ 

Pro.  Already  have  I  been  false  to  Valentine,    j 
And  now  I  must  be  as  unjust  to  Thurio.   J 

75 


Act  IV.  Sc.  ii.  TWO  GENTLEMEN 

Under  the  colour  of  commending  him, 

I  have  access  my  own  love  to  prefer: 

But  Silvia  is  too  fair,  too  true,  too  holy, 

To  be  corrupted  with  my  worthless  gifts. 

When  I  protest  true  loyalty  to  her. 

She  twits  me  with  my  falsehood  to  my  friend; 

When  to  her  beauty  I  commend  my  vows, 

She  bids  me  think  how  I  have  been  forsworn        lo 

In  breaking  faith  with  Julia  whom  I  loved: 

And  notwithstanding  all  her  sudden  quips. 

The  least  whereof  would  quell  a  lover's  hope, 

Yet,  spaniel-like,  the  more  she  spurns  my  love, 

The  more  it  grows,  and  fawneth  on  her  still. 

But  here  comes  Thurio:   now  must  we  to  her  win- 

dowj 
And  give  some  evening  music  to  her  ear. 

Enter  Thurio  and  Musicians. 

Thu.  How  now,  Sir  Proteus,  are  you  crept  before  us? 
Pro.  Ay,  gentle  Thurio;   for  you  know  that  love 

Will  creep  in  service  where  it  cannot  go.  20 

Thu.  Ay,  but  I  hope,  sir,  that  you  love  not  here. 
Pro.  Sir,  but  I  do ;  or  else  I  would  be  hence. 
Thu.  Who?  Silvia? 

Pro.  Ay,  Silvia;   for  your  sake. 

Thu.  I  thank  you  for  your  own.     Now,  gentlemen, 

Let 's  tune,  and  to  it  lustily  awhile. 

Enter,  at  a  distance,  Host,  and  Jidia  in  hoy's  clothes. 

Host.  Now,  my  young  guest,  methinks  you  're  ally- 

cholly:   I  pray  you,  why  is  it? 
Jul.  Marry,  mine  host,  because  I  cannot  be  merry. 
Host.  Come,  we'll  have  you  merry:    I'll  bring  you     30 

7^ 


OF  VERONA  Act  IV.  Sc.  ii. 

where  you  shall  hear  music,  and  see  the  gen- 
tleman that  you  asked  for. 

Jul.  But  shall  I  hear  him  speak? 

Host.  Ay,  that  you  shall. 

Jill.  That  will  be  music.  [Music  plays. 

Host.  Hark,  hark! 

Jul.  Is  he  among  these? 

Host.  Ay:  but,  peace!   let's  hear  'em. 

Song. 

Who  is  Silvia?   what  is  she, 

That  all  our  swains  commend  her?  40 

Holy,  fair,  and  wise  is  she; 

The  heaven  such  grace  did  lend  her, 
That  she  might  admired  be. 

Is  she  kind  as  she  is  fair? 

For  beauty  Hves  with  kindness. 
Love  doth  to  her  eyes  repair. 

To  help  him  of  his  blindness, 
And,  being  help'd,  inhabits  there. 

Then  to  Silvia  let  us  sing, 

That  Silvia  is  excelHng;  50 

She  excels  each  mortal  thing 

Upon  the  dull  earth  dwelling: 
To  her  let  us  garlands  bring. 

Host.  How  now!  are  you  sadder  than  you  were 
before?  How  do  you,  man?  the  music  Hkes 
you  not. 

Jul.  You  mistake;  the  musician  likes  me  not. 

Host.  Why,  my  pretty  youth? 

77 


Act  IV.  Sc.  ii.  TWO  GENTLEMEN 

Jul.  He  plays  false,  father. 

Host.  How?   out  of  tune  on  the  strings?  60 

Jul.  Not  so;    but  yet  so  false  that  he  grieves  my 

very  heart-strings. 
Host.  You  have  a  quick  ear. 
Jul.  Ay,  I  would  I  were  deaf;   it  makes  me  have  a 

slow  heart. 
Host.  I  perceive  you  delight  not  in  music. 
Jul.  Not  a  whit,  when  it  jars  so. 
Host.  Hark,  what  fine  change  is  in  the  music! 
Jul.  Ay,  that  change  is  the  spite. 
Host.  You  would  have  them  always  play  but  one 

thing?  70 

Jul.  I  would  always  have  one  play  but  one  thing. 

But,  host,  doth  this  Sir  Proteus  that  we  talk  on 

Often  resort  unto  this  gentlewoman? 
Host.  I  tell  you  what  Launce,  his  man,  told  me, — he 

loved  her  out  of  all  nick. 
Jul.  Where  is  Launce? 
Host.  Gone  to  seek  his  dog,  which  to-morrow,  by 

his  master's  command,  he  must  carry  for  a  pres- 
ent to  his  lady. 
Jul.  Peace!  stand  aside:  the  company  parts.  80 

Pro.  Sir  Thurio,  fear  not  you:   I  will  so  plead, 

That  you  shall  say  my  cunning  drift  excels. 
Thu.  Where  meet  we? 

Pro.  At  Saint  Gregory's  well. 

Thu.  Farewell. 

{Exeunt  Thu.  and  Musicians. 

Enter  Silvia  above. 

Pro.  Madam,  good  even  to  your  ladyship. 
Sil.  I  thank  you  for  your  music,  gentlemen. 

78 


OF  VERONA  Act  IV.  Sc.  ii. 

Who  is  that  that  spake? 
Pro.  One,  lady,  if  you  knev^  his  pure  heart's  truth, 

You  would  quickly  learn  to  know  him  by  his  voice. 
Sil  Sir  Proteus  as  I  take  it. 

Pro.  Sir  Proteus,  gentle  lady,  and  your  servant.  90 

Sil.  What's  your  will? 

-^^^-  That  I  may  compass  yours. 

Sil.  You  have  your  wish;    my  will  is  even  this: 
That  presently  you  hie  you  home  to  bed. 
Thou  subtle,  perjured,  false,  disloyal  man! 
Think'st  thou  I  am  so  shallow,  so  conceitless. 
To  be  seduced  by  thy  flattery. 
That  hast  deceived  so  many  with  thy  vows  ? 
Return,  return,  and  make  thy  love  amends. 
For  me, — by  this  pale  queen  of  night  I  swear, 
I  am  so  far  from  granting  thy  request,  100 

That  I  despise  thee  for  thy  wrongful  suit; 
And  by  and  by  intend  to  chide  myself 
Even  for  this  time  I  spend  in  talking  to  thee. 
Pro.  I  grant,  sweet  love,  that  I  did  love  a  lady; 

But  she  is  dead. 
Jill.   [Aside]   'Twere  false,  if  I  should  speak  it; 

For  I  am  sure  she  is  not  buried. 
Sil.  Say  that  she  be;   yet  Valentine  thy  friend 
Survives;  to  whom,  thyself  art  witness, 
I  am  betroth'd:  and  art  thou  not  ashamed  no 

To  wrong  him  with  thy  importunacy? 
Pro.  I  likewise  hear  that  Valentine  is  dead. 
Sil.  And  so  suppose  am  I;  for  in  his  grave 

Assure  thyself  my  love  is  buried. 
Pro.  Sweet  lady,  let  me  rake  it  from  the  earth. 
Sil.  Go  to  thy  lady's  grave;  and  call  hers  thence; 

79 


Act  IV.  Sc.  ii.  TWO  GENTLEMEN 

Or,  at  the  least,  in  hers  sepulchre  thine. 
Jill.   {Asidc'\   He  heard  not  that. 
Pro.  Madam,  if  your  heart  be  so  obdurate, 

Vouchsafe  me  yet  your  picture  for  my  love,  120 

The  picture  that  is  hanging  in  your  chamber; 

To  that  I  '11  speak,  to  that  I  '11  sigh  and  weep: 

For  since  the  substance  of  your  perfect  self 

Is  else  devoted,  I  am  but  a  shadow; 

And  to  your  shadow  will  I  make  true  love. 
Jul.   [Aside']   If  'twere  a  substance,  you  would,  sure,  de- 
ceive it, 

And  make  it  but  a  shadow,  as  I  am. 
Sil.  I  am  very  loath  to  be  your  idol,  sir; 

But  since  your  falsehood  shall  become  you  well 

To  worship  shadows  and  adore  false  shapes,        130 

Send  to  me  in  the  morning,  and  I  '11  send  it: 

And  so,  good  rest. 
Pro.  As  wretches  have  o'ernight 

That  wait  for  execution  in  the  morn. 

[Exeunt  Pro.  and  Sil.  severally. 
Jid.  Host,  will  you  go? 
JJost.  By  my  halidom,  I  was  fast  asleep. 
J  id.  Pray  you,  where  lies  Sir  Proteus? 
JJost.  Marry,  at  my  house.     Trust  me,  I  think  'tis 

almost  day. 
Jtd.  Not  so;  but  it  hath  been  the  longest  night 

That  e'er  I  watch'd,  and  the  most  heaviest.  140 

[Exeunt. 


80 


OF  VERONA  Act  IV.  Sc.  iii. 

Scene  III. 

The  same. 

Enter  Eglamour. 

Egl.  This  is  the  hour  that  Madam  Silvia 

Entreated  me  to  call  and  know  her  mind: 

There  's  some  great  matter  she  'Id  employ  me  in. 

Madam,  madam! 

Enter  Silvia  above. 

Sil.  Who  calls? 

Egl.  Your  servant  and  your  friend; 

One  that  attends  your  ladyship's  command. 

Sil.  Sir  Eglamour,  a  thousand  times  good  morrow. 

Egl.  As  many,  worthy  lady,  to  yourself: 
According  to  your  ladyship's  impose, 
I  am  thus  early  come  to  know  w^hat  service 
It  is  your  pleasure  to  command  me  in.  lo 

Sil.  O  Eglamour,  thou  art  a  gentleman, — 

Think  not  I  flatter,  for  I  swear  I  do  not, — 

Valiant,  wise,  remorseful,  well  accomplish'd: 

Thou  art  not  ignorant  what  dear  good  will 

I  bear  unto  the  banish'd  Valentine; 

Nor  how  my  father  would  enforce  me  marry 

Vain  Thurio,  whom  my  very  soul  abhors. 

Thyself  hast  loved;  and  I  have  heard  thee  say 

No  grief  did  ever  come  so  near  thy  heart 

As  when  thy  lady  and  thy  true  love  died,  20 

Upon  whose  grave  thou  vow'dst  pure  chastity. 

Sir  Eglamour,  I  would  to  Valentine, 

To  Mantua,  where  I  hear  he  makes  abode; 

And,  for  the  ways  are  dangerous  to  pass,  ' 

81 


Act  IV.  Sc.  Hi.  TWO  GENTLEMEN 

I  do  desire  thy  worthy  company, 

Upon  whose  faith  and  honour  I  repose. 

Urge  not  my  father's  anger,  Eglamour. 

But  think  upon  my  grief,  a  lady's  grief. 

And  on  the  justice  of  my  flying  hence. 

To  keep  me  from  a  most  unholy  match,  30 

Which    heaven    and    fortune    still    rewards    with 

plagues. 
I  do  desire  thee,  even  from  a  heart 
As  full  of  sorrows  as  the  sea  of  sands, 
To  bear  me  company,  and  go  with  me: 
If  not,  to  hide  what  I  have  said  to  thee, 
That  I  may  venture  to  depart  alone. 

Egl.  Madam,  I  pity  much  your  grievances; 

Which  since  I  know  they  virtuously  are  placed, 

I  give  consent  to  go  along  with  you; 

Recking  as  little  what  betideth  me  40 

As  much  I  wish  all  good  befortune  you. 

When  will  you  go? 

Sil.  This  evening  coming. 

Egl.  Where  shall  I  meet  you? 

Sil.  At  Friar  Patrick's  cell. 

Where  I  intend  holy  confession. 

Egl.  I  will  not  fail  your  ladyship.     Good  morrow, 
gentle  lady. 

Sil.  Good  morrow,  kind  Sir  Eglamour. 

{Exeunt  severally. 


82 


OF  VERONA  Act  IV.  Sc.  iv. 

Scene  IV. 

The  same. 
Enter  Laimce  zvith  his  Dog. 

Launce.  When  a  man's  servant  shall  play  the  cur 
with  him,  look  you,  it  goes  hard:    one  that  I 
brought  up  of  a  puppy;   one  that  I  saved  from 
drowning,    when    three    or   four    of   his    bUnd 
brothers  and  sisters  went  to  itl    I  have  taught 
him,  even  as  one  would  say  precisely,  '  thus  I 
would  teach  a  dog.'     I  was  sent  to  deliver  him 
as  a  present  to  Mistress  Silvia  from  my  master; 
and  I  came  no  sooner  into  the  dining-chamber, 
but    he    steps  me  to  her  trencher,  and  steals     lo 
her  capon's  leg:   O,  'tis  a  foul  thing  when  a  cur 
cannot  keep  himself  in  all  companies!    I  would 
have,  as  one  should  say,  one  that  takes  upon 
him  to  be  a  dog  indeed,  to  be,  as  it  were,  a  dog 
at  all  things.    If  I  had  not  had  more  wit  than  he, 
to  take  a  fault  upon  me  that  he  did,  I  think 
verily  he  had  been  hanged  for  't;   sure  as  I  live, 
he  had  suftered   f or 't ;    you   shall  judge.     He 
thrusts  me  himself  into  the  company  of  three 
or  four  gentlemanlike  dogs,  under  the  duke's 
table:  he  had  not  been  there — bless  the  mark —     20 
a  pissing  while,  but  all  the  chamber  smelt  him. 
'  Out  with  the  dog!  '  says  one:    '  What  cur  is 
that?'  says  another:   'Whip  him  out,'  says  the 
third:  *  Hang  him  up,' says  the  duke.    I,  having 
been  acquainted  with  the  smell  before,  knew  it 
was  Crab,  and  goes  me  to  the  fellow  that  whips 
the  dogs:  '  Friend,'  quoth  I,  '  you  mean  to  whip 
the  dog? '    '  Ay,  marry,  do  I,'  quoth  he.    '  You 

83 


Act  IV.  Sc.  iv.  TWO  GENTLEMEN 

do  him  the  more  wrong,'  quoth  I ;  '  'twas  I  did 
the  thing  you  wot  of.'  He  makes  me  no  more  30 
ado,  but  whips  me  out  of  the  chamber.  How 
many  masters  would  do  this  for  his  servant? 
Nay,  rU  be  sworn,  I  have  sat  in  the  stocks  for 
puddings  he  hath  stolen,  otherwise  he  had  been 
executed;  I  have  stood  on  the  pillory  for  geese 
he  hath  killed,  otherwise  he  had  suffered  for  't. 
Thou  thinkest  not  of  this  now.  Nay,  I  remem- 
ber the  trick  you  served  me  when  I  took  my 
leave  of  Madam  Silvia:  did  not  I  bid  thee  still 
mark  me,  and  do  as  I  do?  when  didst  thou  see  40 
me  heave  up  my  leg,  and  make  water  against 
a  gentlewoman's  farthingale?  didst  thou  ever 
see  me  do  such  a  trick? 

Enter  Proteus  and  Julia. 

Pro,  Sebastian  is  thy  name?   I  like  thee  well. 

And  will  employ  thee  in  some  service  presently. 
JuL  In  what  you  please :   I  '11  do  what  I  can. 
Pro,  I    hope    thou    wilt.     \To   Launce]  How   now,  you 
whoreson  peasant! 

Where  have  you  been  these  two  days  loitering? 
Launce,  Marry,  sir,  I  carried  Mistress  Silvia  the  dog 

you  bade  me.  50 

Pro.  And  what  says  she  to  my  little  jewel? 
Launce.  Marry,  she  says  your  dog  was  a  cur,  and 

tells  you  currish  thanks  is  good  enough  for  such 

a  present. 
Pro.  But  she  received  my  dog? 
Launce.  No,    indeed,    did    she    not:    here    have    I 

brought  him  back  again. 

84 


OF  VERONA  Act  IV.  Sc.  iv. 

Pro.  What,  didst  thou  offer  her  this  from  me? 

Launce.  Ay,  sir;   the  other  squirrel  was  stolen  from 

me  by  the  hangman  boys  in  the  market-place:     60 
and  then  I  offered  her  mine  own,  who  is  a  dog 
,as  big  as  ten  of  yours,  and  therefore  the  gift 
the  greater. 

Pw.  Go  get  thee  hence,  and  find  my  dog  again. 
Or  ne'er  return  again  into  my  sight. 
Away,  I  say!   stay'st  thou  to  vex  me  here? 

[Exit  Launce. 
A  slave,  that  still  an  end  turns  me  to  shame! 
Sebastian,  I  have  entertained  thee. 
Partly  that  I  have  need  of  such  a  youth. 
That  can  with  some  discretion  do  my  business,     70 
iFor  'tis  no  trusting  to  yond  foolish  lout; 
!But  chiefly  for  thy  face  and  thy  behaviour. 
Which,  if  my  augury  deceive  me  not. 
Witness  good  bringing  up,  fortune,  and  truth: 
Therefore  know  thou,  for  this  I  entertain  thee. 
Go  presently,  and  take  this  ring  with  thee, 
Deliver  it  to  Madam  Silvia: 
She  loved  me  well  deliver'd  it  to  me. 

Jill.  It  seems  you  loved  not  her,  to  leave  her  token. 

She  is  dead,  behke? 
Pro.  Not  so;   I  think  she  lives.        80 

Jul.  Alas! 

Pro.  Why  dost  thou  cry,  '  alas  '? 
Jul.  I  cannot  choose 

But  pity  her. 
Pro.  Wherefore  shouldst  thou  pity  her? 

Jul.  Because  methinks  that  she  loved  you  as  well 

As  you  do  love  your  lady  Silvia: 

85 


Act  IV.  Sc.  iv.  TWO  GENTLEMEN 

She  dreams  on  him  that  has  forgot  her  love; 
You  dote  on  her  that  cares  not  for  your  love. 
'Tis  pity  love  should  be  so  contrary; 
And  thinking  on  it  makes  me  cry,  '  alas! ' 

Pro.  Well,  give  her  that  ring,  and  therewithal  90 

This  letter.     That 's  her  chamber.     Tell  my  lady 
I  claim  the  promise  for  her  heavenly  picture. 
Your  message  done,  hie  home  unto  my  chamber, 
Where  thou  shalt  find  me,  sad  and  solitary.     [Exit. 

Jul.  How  many  women  would  do  such  a  message? 
Alas,  poor  Proteus!   thou  hast  entertain'd 
A  fox  to  be  the  shepherd  of  thy  lambs. 
Alas,  poor  fool!   why  do  I  pity  him 
That  with  his  very  heart  despiseth  me? 
Because  he  loves  her,  he  despiseth  me;  100 

Because  I  love  him,  I  must  pity  him. 
This  ring  I  gave  him  when  he  parted  from  me, 
To  bind  him  to  remember  my  good  will; 
And  now  am  I,  unhappy  messenger,  — 

To  plead  for  that  which  I  would  not  obtain. 
To  carry  that  which  I  would  have  refused. 
To  praise  his  faith  which  I  would  have  dispraised. 
I  am  my  master's  true-confirmed  love; 
But  cannot  be  true  servant  to  my  master. 
Unless  I  prove  false  traitor  to  myself.  no 

Yet  will  I  woo  for  him,  but  yet  so  coldly. 
As,  heaven  it  knows,  I  would  not  have  him  speed. 

Enter  Silvia,  attended. 

Gentlewoman,  good  day!    I  pray  you,  be  my  mean 
To  bring  me  where  to  speak  with  Madam  Silvia. 
Sil.  What  would  you  with  her,  if  that  I  be  she? 

86 


OF  VERONA  Act  IV.  Sc.  iv. 

Jill.  If  you  be  she,  I  do  entreat  your  patience 
To  hear  me  speak  the  message  I  am  sent  on. 

Sil.  From  whom? 

Jtd.  From  my  master,  Sir  Proteus,  madam. 

Sil.  O,  he  sends  you  for  a  picture.  120 

Jul.  Ay,  madam. 

Sil.  Ursula,  bring  my  picture  there. 

Go  give  your  master  this :  teU  him,  from  me. 
One  Juha,  that  his  changing  thoughts  forget, 
Would  better  fit  his  chamber  than  this  shadow. 

Jtd.  Madam,  please  you  peruse  this  letter. — 
Pardon  me,  madam ;   I  have  unadvised 
Deliver'd  you  a  paper  that  I  should  not: 
This  is  the  letter  to  your  ladyship. 

Sil.  I  pray  thee,  let  me  look  on  that  again.  130 

Jid.  It  may  not  be;   good  madam,  pardon  me. 

Sil.  There,  hold! 

I  will  not  look  upon  your  master's  lines: 
I  know  they  are  stuff'd  with  protestations, 
And  full  of  new-found  oaths ;  which  he  will  break 
As  easily  as  I  do  tear  his  paper. 

Jul.  Madam,  he  sends  your  ladyship  this  ring. 

SU.  The  more  shame  for  him  that  he  sends  it  me; 
For  I  have  heard  him  say  a  thousand  times 
His  JuHa  gave  it  him  at  his  departure.  140 

Though  his  false  finger  have  profaned  the  ring. 
Mine  shall  not  do  his  Julia  so  much  wTong. 

Jul.  She  thanks  you. 

Sil.  What  say'st  thou? 

Jid.  I  thank  you,  rnadam,  that  you  tender  her. 

Poor  gentlewoman!   my  master  wrongs  her  much. 

Sd.  Dost  thou  know  her? 

87 


Act  IV.  Sc.  iv.  TWO  GENTLEMEN 

Jill.  Almost  as  well  as  I  do  know  myself: 
To  think  upon  her  woes  I  do  protest 
That  I  have  wept  a  hundred  several  times.  150 

Sil.  Belike  she  thinks  that  Proteus  hath  forsook  her. 

Jul.  I  think  she  doth;  and  that 's  her  cause  of  sorrow. 

Sil.  Is  she  not  passing  fair? 

Jill.  She  hath  been  fairer,  madam,  than  she  is : 

When  she  did  think  my  master  loved  her  wxll. 

She,  in  my  judgement,  was  as  fair  as  you; 

But  since  she  did  neglect  her  looking-glass, 

And  threw  her  sun-expelling  mask  away, 

The  air  hath  starved  the  roses  in  her  cheeks. 

And  pinch'd  the  lily-tincture  of  her  face,  160 

That  now  she  is  become  as  black  as  I. 

Sil.  How  tall  was  she? 

Jul.  About  my  stature:   for,  at  Pentecost, 

When  all  our  pageants  of  delight  were  play'd, 

Our  youth  got  me  to  play  the  woman's  part, 

And  I  was  trimm'd  in  Madam  Julia's  gown; 

Which  served  me  as  fit,  by  all  men's  judgements, 

As  if  the  garment  had  been  made  for  me: 

Therefore  I  know  she  is  about  my  height. 

And  at  that  time  I  made  her  weep  agood,  170 

For  I  did  play  a  lamentable  part: 

Madam,  'twas  Ariadne  passioning 

For  Theseus'  perjury  and  unjust  flight; 

Which  I  so  lively  acted  with  my  tears, 

That  my  poor  mistress,  moved  therev/ithal. 

Wept  bitterly;  and,  would  I  might  be  dead, 

If  I  in  thought  felt  not  her  very  sorrow! 

Sil.  She  is  beholding  to  thee,  gentle  youth, 
Alas,  poor  lady,  desolate  and  left! 


OF  VERONA  Act  IV.  Sc.  iv. 

I  weep  myself  to  think  upon  thy  words.  i8o 

Here,  youth,  there  is  my  purse :   I  give  thee  this 
For  thy  sweet  mistress'  sake,  because  thou  lovest 

her. 
Farewell.  [Exit  Silvia,  with  attendants. 

Jul.  And  she  shall  thank  you  for  't,  if  e'er  you  know  her. 
A  virtuous  gentlewoman,  mild  and  beautiful! 
I  hope  my  master's  suit  will  be  but  cold, 
Since  she  respects  my  mistress'  love  so  much. 
Alas,  how  love  can  trifle  w4th  itself! 
Here  is  her  picture:   let  me  see;   I  think, 
If  I  had  such  a  tire,  this  face  of  mine  190 

Were  full  as  lovely  as  is  this  of  hers : 
And  yet  the  painter  flatter'd  her  a  little. 
Unless  I  flatter  with  myself  too  much. 
Her  hair  is  auburn,  mine  is  perfect  yellow: 
If  that  be  all  the  difference  in  his  love, 
I  '11  get  me  such  a  colour'd  periwig. 
Her  eyes  are  grey  as  glass;  and  so  are  mine: 
Ay,  but  her  forehead  's  low,  and  mine  's  as  high. 
What  should  it  be  that  he  respects  in  her, 
But  I  can  make  respective  in  myself,  200 

If  this  fond  Love  were  not  a  bhnded  god? 
Come,  shadow,  come,  and  take  this  shadow  up. 
For  'tis  thy  rival.     O  thou  senseless  form. 
Thou  shalt  be  worshipp'd,  kiss'd,  loved,  and  adored! 
And,  were  there  sense  in  his  idolatry. 
My  substance  should  be  statue  in  thy  stead. 
I  '11  use  thee  kindly  for  thy  mistress'  sake. 
That  used  me  so;  or  else,  by  Jove  I  vow, 
I  should  have  scratch'd  out  your  unseeing  eyes. 
To  make  my  master  out  of  love  with  thee!       [Exit, 

89 


Act  V.  Sc.  i.=ii.  TWO  GENTLEMEN 

ACT  FIFTH. 

Scene  I. 

Milan.     An  abbey. 

Enter  Eglamour. 

Egl.  The  sun  begins  to  gild  the  western  sky; 
And  now  it  is  about  the  very  hour 
That  Silvia,  at  Friar  Patrick's  cell,  should  meet  me. 
She  will  not  fail,  for  lovers  break  not  hours, 
Unless  it  be  to  come  before  their  time; 
So  much  they  spur  their  expedition. 
See  where  she  comes. 

Enter  Silvia. 

Lady,  a  happy  evening! 

Sil.  Amen,  amen!  Go  on,  good  Eglamour, 
Out  at  the  postern  by  the  abbey- wall: 
I  fear  I  am  attended  by  some  spies.  lo 

Egl.  Fear  not:  the  forest  is  not  three  leagues  off; 

If  we  recover  that,  we  are  sure  enough.        [Exeunt. 

Scene  H. 

The  same.     The  Duke's  palace. 

Enter  Thtirio,  Proteus,  and  Jnlia. 

Thu.  Sir  Proteus,  what  says  Silvia  to  my  suit? 
Pro.  O,  sir,  I  find  her  milder  than  she  was; 

And  yet  she  takes  exceptions  at  your  person. 
Thii.  What,  that  my  leg  is  too  long? 
Pro.  No ;  that  it  is  too  little. 

90 


OF  VERONA  Act  V.  Sc.  ii. 

ThiL  I  '11  wear  a  boot,  to  make  it  somewhat  rounder. 
Jul.   [Aside]   But  love  will   not  be   spurr'd   to  what  it 

loathes. 
Thu.  What  says  she  to  my  face? 
Pro.  She  says  it  is  a  fair  one. 

Thu.  Nay  then,  the  wanton  lies;   my  face  is  black.        lo 
Pro.  But  pearls  are  fair;  and  the  old  saying  is, 

Black  men  are  pearls  in  beauteous  ladies'  eyes. 
Jul.  [Aside]  'Tis  true ;  such  pearls  as  put  out  ladies' eyes ; 

For  I  had  rather  wink  than  look  on  them. 
Thu.  How  likes  she  my  discourse? 
Pro.  Ill,  when  you  talk  of  war. 
Thu.  But  well,  when  I  discourse  of  love  and  peace? 
Jul.  [Aside]  But  better,  indeed,  when  you  hold  your  peace. 
Thu.  What  says  she  to  my  valour? 

Pro.  O,  sir,  she  makes  no  doubt  of  that.  20 

Jul.   [Aside]   She  needs  not^  when  she  knows   it  cow- 
ardice. 
Thu.  What  says  she  to  my  birth? 
Pro.  That  you  are  well  derived. 
Jid.   [Aside]   True;   from  a  gentleman  to  a  fool. 
Thu.  Considers  she  my  possessions? 
Pro.  O,  ay;   and  pities  them. 
Thu.  Wherefore? 

Jul.   [Aside]   That  such  an  ass  should  owe  them. 
Pro.  That  they  are  out  by  lease. 
Jid.  Here  comes  the,  duke.  30 

Enter  Duke. 

Duke.  How  now.  Sir  Proteus !  how  now,  Thurio ! 

Which  of  you  saw  Sir  Eglamour  of  late? 
Thu.  Not  I. 
Pro.  Nor  I. 

Duke.  Saw  you  my  daughter? 

91 


Act  V.  Sc.  iii.  TWO  GENTLEMEN 

Pro,  Neither. 

Duke.  Why  then, 

She  's  fled  unto  that  peasant  Valentine; 

And  Eglamour  is  in  her  company. 

'Tis  true;  for  Friar  Laurence  met  them  both, 

As  he  in  penance  wander'd  through  the  forest; 

Him  he  knew  well,  and  guess'd  that  it  was  she, 

But,  being  mask'd,  he  was  not  sure  of  it;  40 

Besides,  she  did  intend  confession 

At  Patrick's  cell  this  even;  and  there  she  was  not; 

These  likelihoods  confirm  her  flight  from  hence. 

Therefore,  I  pray  you,  stand  not  to  discourse, 

But  mount  you  presently,  and  meet  with  me 

Upon  the  rising  of  the  mountain-foot 

That  leads  toward  Mantua,  whither  they  are  fled : 

Dispatch,  sweet  gentlemen,  and  follow  me.        \^Exit, 

Thu.  Why,  this  it  is  to  be  a  peevish  girl, 

That  flies  her  fortune  when  it  follows  her.  50 

I  '11  after,  more  to  be  revenged  on  Eglamour 
Than  for  the  love  of  reckless  Silvia.  [Exit. 

Pro.  And  I  will  follow,  more  for  Silvia's  love 

Than  hate  of  Eglamour,  that  goes  with  her.     [Exit. 

Jul.  And  I  will  follow,  more  to  cross  that  love 

Than  hate  for  Silvia,  that  is  gone  for  love.        [Exit. 

Scene  IIL 

The  frontiers  of  Mantua.     The  forest. 

Enter  Outlaws  with  Silvia, 

First  Out.  Come,  come, 

Be  patient;  we  must  bring  you  to  our  captain. 
Sil.  A  thousand  more  mischances  than  this  one 

92 


OF  VERONA  Act  V.  Sc.  iv. 

Have  learned  me  how  to  brook  this  patiently. 
Sec.  Out.  Come,  bring  her  away. 

First  Out.  Where  is  the  gentleman  that  was  with  her? 
Third  Out.  Being  nimble-footed,  he  hath  outrun  us. 

But  Moses  and  Valerius  follow  him. 

Go  thou  with  her  to  the  west  end  of  the  wood; 

There  is  our  captain:   we  '11  follow  him  that 's  fled; 

The  thicket  is  beset:  he  cannot 'scape.  ii 

First  Out.  Come,  I  must  bring  you  to  our  captain's  cave: 

Fear  not;   he  bears  an  honourable  mind, 

And  will  not  use  a  woman  lawlessly. 
Sil.  O  Valentine,  this  I  endure  for  thee!  [Exeunt. 

Scene  IV. 

Another  part  of  the  forest. 

Enter  Valentine. 

Val.  How  use  doth  breed  a  habit  in  a  man! 

This  shadowy  desert,  unfrequented  woods, 

I  better  brook  than  flourishing  peopled  towns: 

Here  can  I  sit  alone,  unseen  of  any. 

And  to  the  nightingale's  complaining  notes 

Tune  my  distresses  and  record  my  woes. 

O  thou  that  dost  inhabit  in  my  breast. 

Leave  not  the  mansion  so  long  tenantless, 

Lest,  growing  ruinous,  the  building  fall. 

And  leave  no  memory  of  what  it  was !  10 

Repair  me  with  thy  presence,  Silvia; 

Thou  gentle  nymph,  cherish  thy  forlorn  swain! 

What  halloing  and  what  stir  is  this  to-day? 

These  are  my  mates,  that  make  their  wills  their  law, 

93 


Act  V.  Sc.  iv.  TWO  GENTLEMEN 

Have  some  unhappy  passenger  in  chase. 

They  love  me  well;   yet  I  have  much  to  do 

To  keep  them  from  uncivil  outrages. 

Withdraw  thee,  Valentine:   who's  this  comes  here? 

Enter  Proteus,  Silvia,  and  Julia. 

Pro,  Madam,  this  service  I  have  done  for  you, 

Though  you  respect  not  aught  your  servant  doth,  20 

To  hazard  life,  and  rescue  you  from  him 

That  would  have  forced  your  honour  and  your  love; 

Vouchsafe  me,  for  my  meed,  but  one  fair  look; 

A  smaller  boon  than  this  I  cannot  beg, 

And  less  than  this,  I  am  sure,  you  cannot  give. 

Val.   [Aside^^   How  like  a  dream  is  this  I  see  and  hear! 
Love,  lend  me  patience  to  forbear  awhile. 

Sil.  O  miserable,  unhappy  that  I  am! 

Pro.  Unhappy  were  you,  madam,  ere  I  came; 

But  by  my  coming  I  have  made  you  happy.  30 

Sil.  By  thy  approach  thou  makest  me  most  unhappy. 

Jul.   [Aside^   And   me,   when   he   approacheth   to   your 
presence. 

Sil.  Had  I  been  seized  by  a  hungry  lion, 

I  would  have  been  a  breakfast  to  the  beast, 

Rather  than  have  false  Proteus  rescue  me. 

O,  Heaven  be  judge  how  I  love  Valentine, 

Whose  life  's  as  tender  to  me  as  my  soul! 

And  full  as  much,  for  more  there  cannot  be, 

I  do  detest  false  perjured  Proteus. 

Therefore  be  gone;   sohcit  me  no  more.  40 

Pro.  What  dangerous  action,  stood  it  next  to  death. 
Would  I  not  undergo  for  one  calm  look! 
O,  'tis  the  curse  in  love,  and  still  approved, 

94 


OF  VERONA  Act  V.  Sc.  iv. 

When  women  cannot  love  where  they  're  beloved! 
Sit.  When  Proteus  cannot  love  where  he  's  beloved. 
Read  over  Julia's  heart,  thy  first,  best  love. 
For  whose  dear  sake  thou  didst  then  rend  thy  faith 
Into  a  thousand  oaths;   and  all  those  oaths 
Descended  into  perjury,  to  love  me.  49 

Thou  hast  no  faith  left  now,  unless  thou  'dst  two. 
And  that 's  far  worse  than  none;  better  have  none 
Than  plural  faith  which  is  too  much  by  one : 
Thou  counterfeit  to  thy  true  friend! 

Pro.  In  love 

Who  respects  friend? 

Sil.  All  men  but  Proteus. 

Fro.  Nay,  if  the  gentle  spirit  of  moving  words 
Can  no  way  change  you  to  a  milder  form, 
I  '11  woo  you  Hke  a  soldier,  at  arms'  end. 
And  love  you  'gainst  the  nature  of  love, — force  ye. 

Sil.  O  heaven! 

Pro.  I  '11  force  thee  yield  to  my  desire. 

Val.  Ruffian,  let  go  that  rude  uncivil  touch,  60 

Thou  friend  of  an  ill  fashion! 

Pj'o.  Valentine ! 

Val.  Thou  common  friend,  that 's  without  faith  or  love, 
For  such  is  a  friend  now;   treacherous  man! 
Thou  hast  beguiled  my  hopes;  nought  but  mine  eye 
Could  have  persuaded  me :  now  I  dare  not  say 
I  have  one  friend  alive;  thou  wouldst  disprove  me. 
Who  should  be  trusted  now,  when  one's  right  hand 
Is  perjured  to  the  bosom?     Proteus, 
I  am  sorry  I  must  never  trust  thee  more. 
But  count  the  world  a  stranger  for  thy  sake.        70 
The  private  wound  is  deepest:   O  time  most  accurst, 

95 


Act  V.  Sc.  iv.  TWO  GENTLEMEN 

'Mongst  all  foes  that  a  friend  should  be  the  worst! 
Pro.  My  shame  and  guilt  confounds  me. 

Forgive  me,  Valentine:   if  hearty  sorrow 

Be  a  sufficient  ransom  for  offence, 

I  tender 't  here;   I  do  as  truly  suffer 

As  e'er  I  did  commit. 
Val.  Then  I  am  paid; 

And  once  again  I  do  receive  thee  honest, ' 

Who  by  repentance  is  not  satisfied 

Is  nor  of  heaven  nor  earth,  for  these  are  pleased.  80 

By  penitence  the  Eternal's  wrath's  appeased: 

And,  that  my  love  may  appear  plain  and  free, 

All  that  was  mine  in  Silvia  I  give  thee. 
Jul.  O  me  unhappy!  [Szvoons. 

Pro.  Look  to  the  boy. 
Val.  Why,  boy!   why,  wag!    how  now!    what's  the 

matter?     Look  up;    speak. 
Jill.  O  good  sir,  my  master  charged  me  to  deliver  a 

ring  to  Madam  Silvia,  which,  out  of  my  neglect, 

was  never  done.  90 

Pro.  Where  is  that  ring,  boy? 
Jul.  Here  'tis;   this  is  it. 

Pro.  How!    let  me  see: 

Why,  this  is  the  ring  I  gave  to  Julia. 
Jul.  O,  cry  you  mercy,  sir,  I  have  mistook: 

This  is  the  ring  you  sent  to  Silvia. 
Pro.  But  how  camest  thou  by  this  ring?     At  my  depart 

I  gave  this  unto  Julia. 
Jul.  And  Julia  herself  did  give  it  me ; 

And  Julia  herself  hath  brought  it  hither. 
Pro.  How!  Julia!  100 

Jul.  Behold  her  that  gave  aim  to  all  thy  oaths, 

96 


OF  VERONA  Act  V.  Sc.  iv. 

And  entertain'd  'em  deeply  in  her  heart. 

How  oft  hast  thou  with  perjury  cleft  the  root! 

O  Proteus,  let  this  habit  make  thee  blush! 

Be  thou  ashamed  that  I  have  took  upon  me 

Such  an  immodest  raiment,  if  shame  live 

In  a  disguise  of  love: 

It  is  the  lesser  blot,  modesty  finds. 

Women   to   change   their    shapes    than    men   their 
minds. 
Pro.  Than  men  their  minds!    'tis  true.     O  heaven, 

were  man  no 

But  constant,  he  were  perfect!     That  one  error 

Fills  him  with  faults;    makes  him  run  through 
all  the  sins: 

Inconstancy  falls  off  ere  it  begins. 

What  is  in  Silvia's  face,  but  I  may  spy 

More  fresh  in  Julia's  with  a  constant  eye? 
Val.  Come,  come,  a  hand  from  either: 

Let  me  be  blest  to  make  this  happy  close; 

'Twere  pity  two  such  friends  should  be  long  foes. 
Pro.  Bear  witness,  Heaven,  I  have  my  wish  for  ever. 
Jul.  And  I  mine.  120 

Enter  Outlazus,  with  Duke  and  Thiirio. 

Outlazus.  A  prize,  a  prize,  a  prize! 

Val.  Forbear,  forbear,  I  say!  it  is  my  lord  the  duke. 

Your  grace  is  welcome  to  a  man  disgraced, 

Banished  Valentine. 
Duke.  Sir  Valentine! 

Thu.  Yonder  is  Silvia ;  and  Silvia  's  mine. 
Val.  Thurio,  give  back,  or  else  embrace  thy  death; 

Come  not  within  the  measure  of  my  wrath; 

Do  not  name  Silvia  thine;   if  once  again, 

97 


Act  V.  Sc.  iv.  TWO  GENTLEMEN 

Verona  shall  not  hold  thee.     Here  she  stands : 
Take  but  possession  of  her  with  a  touch:  130 

I  dare  thee  but  to  breathe  upon  my  love. 

Thu.  Sir  Valentine,  I  care  not  for  her,  I : 
I  hold  him  but  a  fool  that  will  endanger 
His  body  for  a  girl  that  loves  him  not: 
I  claim  her  not,  and  therefore  she  is  thine. 

Duke.  The  more  degenerate  and  base  art  thou, 

To  make  such  means  for  her  as  thou  hast  done, 

And  leave  her  on  such  sHght  conditions. 

Now,  by  the  honour  of  my  ancestry, 

I  do  applaud  thy  spirit,  Valentine,  140 

And  think  thee  worthy  of  an  empress'  love: 

Know,  then,  I  here  forget  all  former  griefs. 

Cancel  all  grudge,  repeal  thee  home  again, 

Plead  a  new  state  in  thy  unrival'd  merit, 

To  which  I  thus  subscribe:   Sir  Valentine, 

Thou  art  a  gentleman,  and  well  derived; 

Take  thou  thy  Silvia,  for  thou  hast  deserved  her. 

Val.  I  thank  your  grace;  the  gift  hath  made  me  happy. 
I  now  beseech  you,  for  your  daughter's  sake, 
To  grant  one  boon  that  I  shall  ask  of  you.         150 

Duke.  I  grant  it,  for  thine  own,  whate'er  it  be. 

Val.  These  banish'd  men  that  I  have  kept  withal 
Are  men  endued  with  worthy  qualities : 
Forgive  them  what  they  have  committed  here, 
And  let  them  be  recall'd  from  their  exile: 
They  are  reformed,  civil,  full  of  good. 
And  fit  for  great  employment,  worthy  lord. 

Duke.  Thou  hast  prevail'd;   I  pardon  them  and  thee: 
Dispose  of  them  as  thou  know'st  their  deserts. 
Come,  let  us  go:  we  will  include  all  jars  160 

98 


OF  VERONA  Act  V.  Sc.  iv. 

With  triumphs,  mirth,  and  rare  solemnity. 
Val.  And,  as  we  walk  along,  I  dare  be  bold 

With  our  discourse  to  make  your  grace  to  smile. 

What  think  you  of  this  page,  my  lord? 
Duke.  I  think  the  boy  hath  grace  in  him;   he  blushes. 
Val.  I  warrant  you,  my  lord,  more  grace  than  boy. 
Duke.  What  mean  you  by  that  saying? 
Val.  Please  you,  I  '11  tell  you  as  we  pass  along, 

That  you  will  wonder  what  hath  fortuned. 

Come,  Proteus;  'tis  your  penance  but  to  hear      170 

The  story  of  your  loves  discovered: 

That  done,  our  day  of  marriage  shall  be  yours; 

One  feast,  one  house,  one  mutual  happiness. 

[Exeunt. 


99 


TWO  GENTLEMEN 


Glossary. 


Account  of,  appreciates;  II.  i. 

6i. 

Advice;     "more     advice,"     i.e. 

"  further  knowledge  "  ;  II.  iv. 

207;  consideration;  III.  i.  73. 

Agood,  in  good  earnest;  IV.  iv. 

170. 
Aim,  conjecture;  III.  i.  28. 
Aimed  at,  guessed;  III.  i.  45- 
Ale,    ale-house    (with    perhaps 
an  allusion  to  church-ale,  or 
rural  festival)  ;  II.  v.  61. 
Allycholly,      corrupted       from 

"melancholy";  IV.  ii.  27. 
Apparent,  manifest;  III.  i.  116. 
Applaud,  approve;  I.  iii.  48. 
Approved,    proved    by    experi- 
ence ;  V.  iv.  43- 

Auburn,       flaxen; 

IV.  iv.  194- 
Awful,  filled  with 
reverence        for 
authority ;  IV.  i. 
46. 

Bare,  mere    (with 

;         a  quibble  on  the 

other     sense     of 

naked)  ;    III.    i. 

272. 


From  the  draw- 
ing    of     the 

l^ot\s\\lBasc,  in  the  game 
in  Westmin-  of  "  prisoner's 
ster     Abbey,       ,  „      «  ,  ^      -l,-^ 

i522(Q.'Ve-      base  to     bid 

tusta   Monu- 
menta'). 


the  base  "  was  to 
challenge     to     a 
contest  of  speed;  I.  ii.  97- 


Beadsman,  one  who  prays  on 
behalf  of  another ;  I.  i.  18. 

Befortiine,  betide;  IV.  iii.  41. 

Beholding,  beholden;  IV.  iv. 
178. 

Be  shrew,  evil  befal ;  I.  i.  126. 

Bcstozi',  deport  (one's  self)  ; 
III.  i.  87. 

Boots;  "  to  give  one  the  boots  " 
= "  to  make  a  laughing- 
stock of  one,"  with  a  quib- 
bling allusion  to  the  torture 


From  Millaeus's  Praxis  criminis  perse- 
quendi  (Paris,  1541)- 


100 


OF  VERONA 


Glossary 


known  as  "  the  boots  " ;  I.  i. 

27. 
Boots,  profits,  avails ;  I.  i.  28. 
Bottom,  to  wind  thread;  III.  ii. 

53- 
Break,  broach  a  matter;  III.  i. 

59. 

Broken,  fallen  out ;  II.  v.  19. 

Broker,  matchmaker,  go-be- 
tween; I.  ii.  41. 

Burden,  undersong  (with  a 
quibble  on  the  ordinary 
sense  of  the  word)  ;  I,  ii.  85. 

Canker,  canker-worm;  I.  i.  43. 

Cate-log  (Launce's  blunder 
for  "catalogue")  ;  III.  i.  273. 

Censure,  pass  judgement;  I.  ii. 
19. 

Character' d,  written ;  II.  vii.  4. 

Circumstance,  circumstantial 
deduction;  I.  i.  2,^\  I.  i.  84; 
the  position  in  which  one  has 
placed  one's  self,  conduct ;  I. 
i.  ^7;  detail,  particulars.  III, 
ii.  Z6. 

Cite,  incite ;  II.  iv.  85. 

Close,  union;  V.  iv.  117. 

Clerkly,  scholarly;  II.  i.  106. 

Codpiece,  "  a  part  of  the  male 
attire,  indelicately  conspicu- 
ous in  the  poet's  time " ;  II. 
vii.  53. 

Coil,  fuss,  ado ;  I.  ii.  99. 

Commit,  sin ;  V.  iv.  77. 

Compass,  obtain;  IV.  ii.  91. 

Competitor,  confederate;  II.  vl. 

r> 

Conceit,  opinion ;  III.  ii.  17. 
Conceitless,    devoid    of    under- 
standing; IV.  ii.  95. 
Condition,  quality;  III.  i.  273. 


Consort,  a  company;  IV.  i.  64; 
a  company  of  musicians 
playing  together;  III.  ii.  84. 

Conversed,  associated ;  II.  iv. 
63. 

Crews,  bands ;  IV.  i.  74. 

Curst,  shrewish ;  III.  i,  339. 

Dazzled  (trisyllabic)  ;  II.  iv. 
210. 

Deign,  condescend  to  accept ; 
I.  i.  152. 

Descant;  "counterpoint,  or  the 
adding  one  or  more  parts  to 
a  theme,  which  was  called 
'the  plain  song'  ";  I.  ii.  94. 

Diet;  "  takes  diet  "="  is  under 
a  strict  regimen  " ;  II.  i.  24. 

Dispose,  disposal ;  II.  vii.  86. 

Doublet,  inner  garment  of  a 
man,  sometimes  worn  with- 
out the  jerkin,  with  which  at 
times  it  was  confounded;  II. 
iv.  20. 

Dump,  slow,  melancholy  tune ; 
III.  ii.  85  (see  end  of  Notes). 

Earnest,  pledge,  token  of  fu- 
ture bestowal  (with  a  quib- 
ble on  "  earnest  "  as  opposed 
to  "jest");  III.  i.  163. 

Else,  elsewhere ;  IV.  ii.  124. 

Engine,  instrument ;  III.  i.  138. 

Entertain,  take  into  service;  II. 
iv.  104;  IV.  iv.  68. 

Exhibition,  allowance ;  I.  iii.  69. 

Extreme  (accented  on  the  first 
syllable)  ;  II.  vii.  22. 

Farthingale,  hoop  petticoat ;  II. 

vii.  51. 
Feature,  shape,  form;  II.  iv.  72- 


Glossary 


TWO  GENTLEMEN 


Figure,  a  turn  of  rhetoric;  II. 
i.  146. 

Fire   (dissyllabic)  ;  I.  ii.  30. 

Fond,  foolish;  I.  i.  52. 

For  (=  for  fear  of)  ;  I.  ii.  136. 

For  why,  because ;  III.  i.  99. 

Forlorn  (accented  on  first  syl- 
lable) ;  I.  ii.  124. 

Gossips,    sponsors    at    baptism 
(used    quibblingly)  ;    III.    i. 
269. 
Greed,  agreed;  II.  iv.  183. 
Griefs,  grievances;  V.  iv.  142. 
G  r  i  e  z'  ances , 
causes    of 
grief;  IV.  iii. 
2,7- 

Hangnian  (as  a 
term  of  re- 
proach), ras- 
cally ;  IV.  iv. 
60. 
Homely,  plain, 
unrefined ;  I. 
i.  2. 

Fromablack-letter  Hose,  "  a  round 
balladformerlyin       hose  " ;  II. 

the  Heber  collec-         ..  ,  ^ 

tion.  Vll.     55;        to 

garter   his 
hose';   II.  i.  77. 
However,  in  any  case ;  I.  i.  34. 

Impeachment,     reproach,     dis- 
credit; I.  iii.   15. 
Impose,  injunction;  IV.  iii.  8. 
Include,  conclude;  V.  iv.  160. 
Infinite,  infinity ;  II.  vii.  70. 
Inherit,  win ;  III,  ii.  87. 
Inly,  inward;  II.  vii.  18. 
Integrity,  sincerity;  III.  ii.  77. 


Interpret,  act  the  interpreter 
(to  the  figure  in  a  puppet 
show)  ;  II.  i.  loi. 

Jade  (used  quibblingly)  ;  III.  i. 
277. 

Jerkin,  jacket  or  short  coat, 
usually  worn  over  the  dou- 
blet; II.  iv.  19. 

Jolt-head,  blockhead ;  III.  i.  290. 

Keep,  restrain;  IV.  iv.  11. 
Kind,  kindred;  II.  iii.  2. 
Knots  (true-love)  ;  II.  vii.  46. 


From  a  Monument  in  Ashford  Church, 
Kent. 


Laced,  see  "  mutton," 

Learn,  teach;  II.  vi.  13. 

Lcarn'd,  taught ;  V.  iii.  4. 

Lease,  "  out  by  lease,"  i.e.  "  let 
to  others,  and  not  under  one's 
own  control  "  ;  the  point  of 
the  line  turns  on  the  equivo- 
cal interpretation  of  "  posses- 
sions "  in  the  sense  of  "  men- 
tal endowments;"  V.  ii.  29. 


OF  VERONA 


Glossary 


Leave,  cease,  III.  i.  182;  part 

with,  IV.  iv.  79. 
Lets,  hinders;  III.  i.  113. 
Liberal,  wanton;  III.  i.  355. 
Lies,  lodges;  IV.  ii.  137. 
"  Light  o'  love','  a  popular  old 

tune,     referred     to     also     in 

Much  Ado,  III.  iv.  44;  I.  ii. 

83. 
Likes,  pleases ;  IV.  ii.  55. 
Lime,  bird-lime ;  III.  ii.  68. 

Manage,  to  wield;  III.  i.  247. 

Mean,  tenor;  I.  ii.  95. 

Means,  "  to  make  means,"  i.e. 
"  to  contrive  measures  and 
opportunities  "  (to  win  her)  ; 
V.  iv.  137. 

Measure," \\\i\nn  the  measure," 
i.e.  "  within  reach  " ;  V.  iv. 
127. 

Merops,  Phaethon  was  re- 
proached, though  falsely, 
with  being  the  son,  not  of 
Apollo,  but  of  Merops ;  III.  i. 
153. 

Minion,  a  spoiled  favourite;  I. 
ii.  88,  92. 

MonetWs  mind  (fol.  "month"; 
"  moneth,"  archaic  form  pre- 
served in  phrase  "  moneth's 
mind"),  originally  meant  the 
monthly  anniversary  of  a 
person's  death ;  hence  "  re- 
membrance," and  finally 
"yearning";  I.  ii.  137  {cp. 
Notes). 

Mood,  rage;  IV.  i.  51. 

Motion,  puppet-show ;  II.  i.  94. 

Mouth,  "  a  sweet  mouth,"  i.e. 
"  2l  sweet  tooth;"  III.  i.  2)22>- 


From  the  MS.  of  the  Romance  of 
Alexander  (Bodl.  Lib.). 


Muse,  wonder ;  I.  iii.  64. 

Mutton,  a  sheep;  I.  i.  98; 
"  laced  mutton "  seems  to 
have  been  a  cant  term  for  a 
loose  woman,  but  probably 
used  here  in  the  sense  of  "  a 
fine  piece  of  woman's  flesh," 
"  a  finely  trimmed  woman  "  ; 
I.  i.  99- 


From  the  "  Herodiade  "  print  by  Israel 
Van  Mechlin  (c.  1500). 

Nicholas    (Saint),    the    patron 
saint  of  scholars;  III.  i.  296. 


103 


Glossary 


TWO  GENTLEMEN 


Nick,  reckoning  (alluding  to 
the  "  nicks  "  or  "  notches  " 
on  a  wooden  tally)  ;  IV.  ii. 
75. 


Possessions,  interpreted  equivo- 
cally in  the  sense  of  "men- 
tal endowments;"  V.  ii.  25. 

Post,  messenger;  I.  i.  153. 


An  Exchequer  Tally 

Noddy  (quibblin^ly  for  "  nod- 
ay"),  simpleton;  I.  i.  117. 

On  (play  upon  "  on "  and 
"one"),  II.  i.  I. 

On,  of;  IV.  ii.  72. 

One,  "one  knave,"  i.e.  "a  sin- 
gle, not  a  double  knave  "  (re- 
ferring perhaps  to  Proteus' 
falsehood  to  both  friend  and 
mistress)  ;  III.  i.  263. 

Omitting,  neglecting ;  II.  iv.  65. 

Onset,  beginning ;  III.  ii.  94. 

O'erlook'd,  perused ;  I.  ii.  50. 

Ozve,  own;  V.  ii.  28. 

Pageants,  dramatic  entertain- 
ments ;  IV.  iv.  164. 

Pardon,  excuse  your  absence; 
III.  ii.  98. 

Parle,  talk;  I.  ii.  5. 

Passenger,  passer-by;  IV.  i.  i. 

Passioning,  passionately  griev- 
ing; IV.  iv.  172. 

Peevish,  wayward;  III.  i.  68; 
V.  ii.  49. 

Persevers  (accented  on  second 
syllable)  ;  III.  ii.  28. 

104 


of  the  XIV.  Cent. 

Practising,  plotting;  IV.  i.  48. 

Presently,  forthwith;  II.  iv.  86. 

Pretence,  design;  III.  i.  47. 

Pretended,  proposed ;  II.  vi.  2>7- 

Principality,  an  angel  of  the 
highest  rank,  next  to  divin- 
ity; II.  iv.  152. 

Print;  "in  print  "  =  "  to  the 
letter,  accurately  " ;  II.  i.  166. 

Proper,  well-shaped;  IV.  i.  10. 

PublisJier,  one  who  brings  to 
light ;  III.  i.  47. 

Puling,  "  like  a  beggar  at  Hal- 
lowmas " ;  it  was  a  custom 
on  All  Saints  Day  for  the 
poor  to  go  from  parish  to 
parish  a-soiding,  i.e.  "  beg- 
ging and  puling  for  soul- 
cakes  " ;  II.  i.  25. 

Quaintly,  cleverly;   II.    i.    120; 

III.  i.  117. 
Quality,  profession ;  IV.  i.  58. 
Quips,  sharp  jests;  IV.  ii.  12. 
Quote     (pronounced     "  cote  "  ; 

hence  the  quibble)  ;  II.  iv.  18. 

Ravel,  become  entangled;  III. 
ii.  52. 


OF  VERONA 


Glossary 


Reasoning,  talking;  II.  i.  139. 
Receive,    acknowledge ;    V.    iv. 

78. 
Recking,  caring  for;  IV.  iii.  40. 
Record,  sing;  V.  iv.  6. 
Remorseful,        compassionate ; 

IV.  iii.  13. 
Repeal,  recall ;  V.  iv,  143. 
Resemble  th     (quadrisyllabic, 

"resemb(e)leth")  ;  I.  iii.  84. 
Respect,  regard,  care  for;   III. 

i.  89;  V.  iv.  20. 
Respective,  v^orthy  of  respect; 

IV.  iv.  200. 
Road,  port,  harbour ;   I.  i.  53 ; 

II.  iv.  187. 
Root  (of  the  heart)  ;  V.  iv.  103. 

Sad,  serious ;  I.  iii.  i. 

Servant,  a  term  of  gallantr5^ 
from  a  lady  to  her  admirer ; 
IT.  i.  99,  106. 

Set,  set  to  music ;  interpreted 
playfully  by  Julia  in  the 
sense  of  "  to  estimate  "  ;  I.  ii. 
81. 

Set,  seated  (used  quibblinglv)  ; 
II.  i.  85. 

Several,  separate ;  I.  ii.  108. 

Shapeless,  purposeless  ;  I.  i.  8. 

Sheep  (used  quibblingly  with 
"  ship,"  the  two  words  be- 
ing pronounced  nearly  the 
same)  ;  I.  i.  73. 


From  a  token  issued  by  William  Eye 
at  the  S/ieeJ>e,  in  Rye,  1652. 


Shot,  a  tavern-reckoning  (used 
quibblingly)  ;  II.  v.  9. 

Silly,  helpless ;  IV.  i.  72. 

Sluggardized,  made  lazy ;    I.  i,  7. 

So,  so  be  it, 
well  and 
good;  II. 
i.   129. 

S  oho, thoicvy 
of  hunters 
on  start- 
ing a  hare; 
III.  i.  189. 

Sort,   select;    From  a  seal  (XIV. 

m-- Cent.)     discovered 
•   11-   92.        in  Sussex. 

Speed,  suc- 
ceed;   IV.  iv.  112. 

Squirrel  (applied  to  a  small 
dog)  ;  IV.  iv.  59. 

Statue,  image;  IV.  iv.  206. 

Stead,  be  of  use  to;  II.  i.  iii. 

Still,  ever;  V.  iv.  43. 

Still  on  end,  perpetually;  IV. 
iv.  67. 

Stock   (used  quibblingly)  ;  III. 

i.  305 ;  306. 

Stomach,  used  quibblingly  in 
sense  of  "  temper "  and  of 
"  hunger  "  ;  (observe  also 
the  play  upon  "  meat "  and 
"  maid,"  pronounced  nearly 
alike)  ;  I.  ii.  68. 

Strange ;  "  she  makes  it 
strange  "  =  "  she  pretends  to 
be  shocked  " ;  I.  ii.  102. 

Sudden,  quick,  sharp ;  IV.  ii. 
12. 

Suggested,  tempted;  III.  i.  34. 

Sweet-suggesting,  sweetly 
tempting:  II.  vi.  7. 

Swinged,  whipped;  II.  i.  82. 


105 


Glossary 


TWO  GENTLEMEN 


Table,  tablet ;  II.  vii.  3. 
Tender,  compassionate;  IV.  iv. 

145- 
Tender,  dear;  V.  iv.  2>7- 
Testerned,    presented    with    a 

tester,  or  sixpence;  I.  i.  145. 


Turn,  prove  inconstant ;  11.  ii.  4. 

Unadvised,  inadvertently;  IV. 
iv.  127. 

Up  and  dozvn,  altogether,  ex- 
actly; II.  iii.  32. 


Tester  (Shilling)  of  Henry  VIII. ;  later  the  name  was  given  to  Sixpences. 
From  a  specimen  in  the  British  Museum. 


Throughly,    thoroughly ;    I.    ii. 

115- 
Timeless,  untimely;  III.  i.  21. 
Tire,  head-dress ;  IV.  iv.  190. 
To;  "to  Milan  "  =  "by  letters 

addressed    to    Milan " ;    I.    i. 

57:   in  comparison  with;   II. 

iv.  138,  139. 
Tongues,  languages;  IV.  i.  2)Z- 
Trenched,  carved;  III.  ii.  7, 
Triumphs,  festive  pageants;  V. 

iv.  161. 


J^ery,  true;  III.  ii.  41. 

Weeds,  garments ;  II.  vii.  42. 
Where,  whereas ;  III.  i.  74, 
Wink,  shut  the  eyes ;  V.  ii.  14. 
With,  by;  II.  i.  31. 
]Vithout     (used    quibblingly)  ; 

II.  i.  34-38. 
Wood,    mad;    II,    iii.    30    (see 

Notes). 


106 


OF  VERONA 


Critical  Notes. 

BY   ISRAEL   GOLLANCZ. 

Dramatis  Persons,  '  The  names  of  all  the  actors'  are  given  at 
the  end  of  the  play  in  the  Folios ;  the  form  '  Protheus '  is  invari- 
ably used  for  '  Proteus,'  '  Anthonio '  for  '  Antonio/  and  '  Pan- 
thion  '  for  '  Panthino.' 

I.  i.  19.  'On  a  love-hook  pray  for  my  success';  an  allusion  to 
the  Roman  Catholic  custom  of  placing  the  beads  on  the  prayer- 
book,  and  of  counting  the  beads  with  the  prayers.  '  The  love- 
book'  is  in  this  case  to  take  the  place  of  the  prayer-book;  some 
have  supposed  that  Shakespeare  is  here  referring  to  Marlowe's 
'  Hero  and  Leander,'  which,  however,  though  entered  on  the  Sta- 
tioners' Registers  in  1593,  was  not  printed  till  1598,  after  which 
date  many  references  occur  to  it  in  contemporary  literature; 
Shakespeare  directly  quotes  from  it  in  As  You  Like  It,  IV.  i.  100. 

1.  ii.  53.  '  What  fool  is  she';  the  first  three  Folios  read  'what 
'fool  is  she,'  indicating  the  omission  of  the  indefinite  article,  a  not 
uncommon  Elizabethan  idiom. 

I.  ii.  137.  'I  see  you  have  a  moneth's  mind  to  them';  Schmidt 
in  his  '  Shakespeare  Lexicon '  explains  the  phrase  '  month's 
mind '  as  '  a  woman's  longing,'  as  though  the  expression  had  its 
origin  in  the  longing  for  particular  articles  of  food  shown  by 
women,  but  this  interpretation  seems  to  have  no  authority.  John- 
son rightly  remarks  on  this  passage: — 'A  month's  mind,  in  the 
ritual  sense,  signifies  not  desire  or  inclination,  but  remembrance; 
yet  I  suppose  this  is  the  true  original  of  expression,'  The  Cam- 
bridge ed.  following  Fol.  reads  '  month's  mind,'  but  the  metre 
clearly  requires  the  contemporary  archaic  form. 

I.  iii.  27.  '  Shakespeare  has  been  guilty  of  no  mistake  in  placing 
the  emperor's  court  at  Milan.  Several  of  the  first  German  Em- 
perors held  their  courts  there  occasionally,  it  being  at  that  time 
their  immediate  property,  and  the  chief  town  of  their  Italian 
dominions.' — Steevens. 

II.  i.  2)7-  'none  else  zvotdd';  i.e.  'no  one  else  would  perceive 
them.' 

107 


Notes  TWO  GENTLEMEN 

II.  i.  78.  'to  put  on  your  hose'',  various  suggestions  have  been 
made  for  the  emendation  of  these  words  : — '  to  beyond  your  nose/ 
*  to  put  spectacles  on  vour  nose,'  '  to  put  on  your  shoes/  *  to  button 
your  hose.'  It  is  not  certain  that  a  rhyming  couplet  was  intended. 
Probably  '  unable  to  see  to  put  on  one's  hose '  was  a  proverbial  ex- 
pression meaning  '  unable  to  tell  which  leg  to  put  into  one's  hose 
first/  i.e.  '  not  to  have  one's  wits  about  one/ 

II.  i.  166.  'for  in  print  I  found  it.'  Probably  these  lines  are 
quoted  from  some  old  ballad  or  play,  though  their  source  has  not 
yet  been  found.  One  cannot  help  thinking  that  Shakespeare  is 
quoting  from  some  play  of  the  '  Two  Italian  Gentleman  '  type ; 
the  reprinted  extracts  contain  passages  strongly  reminding  one  of 
these  lines. 

II.  iii.  30.  '  a  good  zvoman ' ;  the  Folios  read  '  a  would-woman  ' ; 
Theobald  first  changed  '  would  '  into  '  wood '  {i.e.  mad)  ;  others 
'an  ould  {i.e.  old)  woman.' 

II.  iv.  116.  The  Folios  give  this  line  to  '  Thurio  ';  if  the  reading 
be  right,  he  must  have  quitted  the  stage  during  the  scene,  probably 
immediately  before  the  entrance  of  Proteus,  after  line  99. 

II.  iv.  130.  '  Whose  high  imperious  thoughts  have  punished  me'; 
Johnson  proposed  to  read  '  those  '  for  '  whose,'  as  if  the  '  imperious 
thoughts  '  are  Valentine's  and  not  '  Love's/ 

II.  iv.  196.  'Is  it  mine  eye  or  Valentines  praise' ',  the  Camb.  ed., 
following  the  first  Folio,  reads,  '  Is  it  mine,  or  Valentine's  praise  ' ; 
the  later  Folios,  'Is  it  mine  then,  or  Valentineans  praise?  '  Theo- 
bald's suggestion,  'mine  eye'  has  been  generally  adopted;  'if  this 
were  unsatisfactory,'  the  Camb.  editors  remark,  'another  guess 
might  be  hazarded : — 

Is  it  mine  unstaid  min-d  or  Valentine's  praise.' 

In  the  latter  case  '  Valentine's  '  must  be  read  as  a  dissyllable ;  in 
the  former  as  a  quadrisyllable ;  it  is  not  necessary  to  read,  as  has 
been  proposed,  '  Valentino's  '  or  '  Valentinus'.'  Two  other  inge- 
nious emendations  are-  noteworthy: — 'her  mien,'  'mine  eyne' 
('thine  eyne'  occurs  as  a  rhyme  in  Midsummer-Night's  Dream, 
III.  ii.  138). 

II.  V.  I ;  III.  i.  81 ;  V.  iv.  129.  The  Cambridge  editors  have  re- 
tained the  reading  of  the  Folios  in  these  lines,  '  Padua  '  in  the  first 
passage,  and  '  Verona '  in  the  second  and  third,  '  because  it  is  im- 
possible that  the  words  can  be  a  mere  printer's  or  transcriber's 
error.    These  inaccuracies  are  interesting  as  showing  that  Shake- 

108     . 


OF  VERONA 


Notes 


speare  had  written  the  whole  of  the  play  before  he  had  finally 
determined  where  the  scene  was  to  be  laid ;  '  the  scene  is  in  each 
case  undoubtedly  Milan  (perhaps  '  Milano,'  metri  causa). 

III.  i.  273.  *"  Condition ' ;  so  the  first  three  Folios ;  the  fourth 
Folio  reads  '  conditions,'  adopted  in  many  editions ;  *  condition  '  is 
generally  used  by  Shakespeare  in  the  sense  of  '  temper/  '  quality.' 

III.   i.  311.  '  World  on   Wheels'  a  proverbial  expression  well 
illustrated    by    the    accompanying 
drawing : — 

III.  ii.  yj.  Malone  suggests  that 
some  such  line  as  the  following 
has  been  lost  after  'integrity:' — 
*  as  her  obdurate  heart  may  pene- 
trate/ but  the  meaning  is  perhaps 
rightly  explained  by  Steevens : — 
'  such  ardour  and  sincerity  as 
would  be  manifested  by  practising 
the  directions  given  in  the  four 
preceding  lines.' 

IV.  i.  2,6.  'Robin  Hood's  fat 
friar'  i.e.  Friar  Tuck.  This  allu- 
sion to  '  Robin  Hood's  friar '  by 
the  Italian  outlaw  is  somewhat 
unexpected ;  in  the  later  play  of 
As   You  Like  It  there  is   also  an 

allusion  to  '  Robin  Hood/  but  Shakespeare  is  careful  to  add  *  of 
England'  ('they  live  like  the  old  Robin  Hood  of  England/  I.  i, 
122). 

lY.  i.  49.  'An  heir,  and  near  allied 
for   which   Theobald    suggested    '  near, 
cepted ;  possibly,  but  doubtfully,  '  niece 
being  used  occasionally  by  Elizabethan  writers  to  signify  almost 
any  relationship. 

IV.  iv.  60.  'Hangman  boys';  the  Folios  read  ''hangmans  boys'; 
the  reading  in  the  text  was  given  by  Singer  from  a  MS.  note  in 
a  copy  of  the  second  Folio  in  his  possession. 

IV.  iv.  79.  The  first  Folio  misprints,  'not  leave  her  token/ 

IV.  iv.  157. 

"But  since  she  did  neglect  her  looking-glass, 
And  threw  her  sun-expelling  mask  away;' 

cf.  the  accompanying  illustration. 


From  Taylor  the  Water-Poet's  tract 
'  The  World  runnes  on  Wheels  . .  . ' 
(1623). 

[The  cut  represents  the  '  chayn'd  en- 
sared  world '  (turned  upside  down) 
being  drawn  to  destruction  by  the 
flesh  and  the  devil.] 


the  Folios  read  '  niece,' 
a  reading  generally  ac- 
may  after  all  be  correct, 


109 


Notes 


TWO  GENTLEMEN 


Looking-glass  and  Mask. 
From  a  copperplate  by  Peter  de  Lode. 

time  most  curst ' :  others  omit 


V.  iv.  2.  Probably  a  better 
reading  than  the  Folio  is  that 
generally  adopted,  due  to  Col- 
liers MS.:— 

*  these    shadowy,   desert,  unfre- 
quented woods.' 

V.  iv.  47-50.  'Rend  thy  faith 
.  .  .  perjury,  to  love  vie. 
TJiou  .  .  .'  The  lines  seem 
clear  as  they  stand;  a  sugges- 
tion by  Mr.  Daniel  is  perhaps 
worthy  of  mention  : — '  rain  . 
perjury.  To  love  me 
Thou,'  or  '  hail  .  .  .  Dis- 
candied  into  perjury.  To  love 
me  Thou    .    .    .' 

V.  iv.  71.  A  difficult  line  to 

scan ;     Johnson    proposed     '  O 

most '  or  '  O  ' ;  perhaps  we  have 


here  an  Alexandrine,  '  O  '  counting  as  a  monosyllabic  foot ;  the 
second  syllable  of  '  deepest '  being  an  extra  syllable  before  the 
pause : — 

The  pri'\vate  wou'nd\  is  de'epest;  \\  0'-\  time  mo'st\  accur'st,\ 

Part  of  '  My  Lady  Carey's  Dumpe,'  circa  1600  (to  illustrate  III. 
ii.  85). 


no 


OF  VERONA 


Explanatory  Notes. 


The  Explanatory  Notes  in  this  edition  have  been  specially  selected  and 
adapted,  with  emendations  after  the  latest  and  best  authorities,  from  the 
most  eminent  Shakespearian  scholars  and  commentators,  including  Johnson, 
Malone,  Steevens,  Singer,  Dyce,  Hudson,  White,  Furness,  Dowden,  and 
others.  This  method,  here  introduced  for  the  first  time,  provides  the  best 
annotation  of  Shakespeare  ever  embraced  in  a  single  edition. 


ACT  FIRST. 
Scene  I. 

2.  Milton  has  a  like  play  upon  words  in  his  Comus : — 

"It  is  for  homely  features  to  keep  home; 
They  had  their  name  thence." 

8,  Idleness  is  called  shapeless,  as  preventing  the  shaping  of  the 
character  and  manners. 

i8.  A  headsman,  as  the  word  is  here  used,  is  one  who  is  pledged 
to  pray  on  behalf  of  another.  Thus  we  are  told  that  Sir  Henry 
Lee,  upon  retiring  from  the  office  of  Champion  to  Queen  Eliza- 
beth, said  "  his  hands,  instead  of  wielding  the  lance,  should  now 
be  held  up  in  prayer  for  Her  Majesty's  welfare;  and  he  trusted 
she  would  allow  him  to  be  her  beadsman,  now  that  he  had  ceased 
to  incur  knightly  perils  in  her  service."  Bead  is  Anglo-Saxon 
for  prayer,  and  for  the  small  wooden  balls  used  in  numbering 
prayers,  a  string  of  which  is  called  a  rosary.  Such  the  origin  of 
the  name,  if  not  of  the  thing,  "  a  string  of  beads." 

114.  that's  noddy: — The  poor  quibble  is  more  apparent  in  the 
original,  where,  according  to  the  mode  of  that  time,  the  affirmative 
particle,  ay,  is  printed  /.  Noddy  was  a  game  at  cards :  applied  to 
a  person,  the  word  meant  fool;  Noddy  being  the  name  of  what  is 
commonly  called  the  Jack. 

138-141.  being  so  hard,  etc. : — The  meaning  apparently  is,  "Since 


Notes  TWO  GENTLEMEN 

she  has  been  so  hard  to  me,  the  bearer  of  your  mind,  I  fear  she 
will  be  equally  hard  to  you  whose  mind  I  bore,  when  you  yourself 
address  her."  Malone  points  out  the  antithesis  between  brought 
and  telling. 

145,  testcnied: — "You  have  given  me  a  tcstern."  Testcrn,  now 
called  tester,  was  the  name  of  a  coin  of  sixpence  value,  so  named 
from  having  a  teste,  that  is,  a  head,  stamped  upon  it.  It  was 
originally  valued  at  eighteen  pence. 

150.  Being  destined,  etc. : — "  It  is  worthy  of  remark,"  says 
Clarke,  "  that  Speed's  flippancy  exceeds  the  licensed  pertness  of 
a  jester,  and  degenerates  into  impertinence  when  speaking  with 
Proteus;  thus  subtly  conveying  the  dramatist's  intention  in  the 
character  itself.  Had  Proteus  not  been  the  mean,  unworthy  man 
he  is,  as  gentleman  and  lover.  Speed  had  not  dared  to  twit  him  so 
broadly  with  his  niggardly  and  reluctant  recompense,  or  to  speak 
in  such  free  terms  of  the  lady  Proteus  addresses." 

Scene  II. 

19.  Censure,  in  Shakespeare's  time,  was  commonly  used  in  the 
sense  of  judging,  passing  judgement,  giving  one's  judgement  or 
opinion.  Thus  in  The  Winter's  Tale,  II.  i.  ^6,  2)7 '■  "How  blest 
am  I  in  my  just  censure,  in  my  true  opinion !  " 

30.  Fire  is  here  a  dissyllable.  The  play  has  other  like  examples. 
This  and  other  words,  as  your,  hour,  power,  etc.,  were  continually 
used  thus  by  the  poets  of  Shakespeare's  time  as  one  or  two  syl- 
lables, as  their  verse  required. 

94,95.  descant: — The  simple  air  in  music  was  called  the  plain 
song,  or  ground;  the  descant  was  probably  what  is  now  called 
variations;  the  mean  was  the  part  between  treble  and  tenor.  This 
use  of  musical  terms  before  a  popular  audience  would  seem  to 
infer,  what  was  indeed  the  case,  that  taste  and  knowledge  in 
music  was  a  characteristic  trait  of  "  merry  England  in  the  olden 
time." 

97.  /  hid  the  base : — Lucetta  is  still  quibbling,  and  turns  the 
allusion  ofif  upon  the  rustic  game  of  base,  or  prison-base,  in  which 
one  ran  and  challenged  another  to  catch  him. 

126.  Sith  : — Since. 

136.  for  catching  cold: — That  is,  lest  they  should  catch  cold; 
anciently  a  common  form  of  expression. 


112 


OF  VERONA  Notes 

Scene  III. 

8-10.  Some  to  the  wars,  etc. : — This  passage  is  all  alive  with  the 
spirit  of  Shakespeare's  own  time,  when  enterprise,  adventure,  and 
study  were  everywhere  the  order  of  the  day,  and  all  ranks  were 
stirred  with  noble  agitations ;  the  mind's  life  being  then  no  longer 
exhausted  in  domestic  broils,  nor  as  yet  stifled  by  a  passion  for 
'jain.  And,  to  say  nothing  of  foreign  discoveries,  where  wonder 
and  curiosity  were  ever  finding  new  stores  of  food,  and  still  grew 
hungry  by  what  they  fed  on ;  or  of  Flemish  campaigns,  where 
chivalrous  honour  and  mental  accomplishment  "  kissed  each 
other ;  "  what  a  tremendous  perturbation  must  have  run  through 
the  national  mind,  what  a  noble  fury  must  have  enriched  the 
nation's  brain,  to  make  it  effervesce  in  such  a  flood  as  has  rolled 
down  to  us  in  the  works  of  Spenser,  Hooker,  Shakespeare,  and 
Bacon ! 

27.  the  emperor: — "Some  of  the  first  German  emperors,"  says 
Steevens,  "  were  crowned  kings  of  Italy  at  Milan  before  they 
received  the  imperial  crown  at  Rome.  Nor  has  the  Poet  fallen 
into  any  contradiction  by  giving  a  duke  to  Milan  at  the  same  time 
that  the  emperor  held  his  court  there.  The  first  dukes  of  that 
and  all  the  other  great  cities  in  Italy  were  not  sovereign  princes, 
as  they  afterwards  became,  but  were  merely  governors,  or  vice- 
roys, under  the  emperors,  and  removable  at  their  pleasure." 

30  et  seq.  Here  again  the  Poet  is  alluding  to  the  practices  of  his 
own  time.  At  an  earlier  period,  when  war  was  expressly  con- 
ducted by  the  laws  of  knighthood,  "the  tournay,  with  all  its 
magnificence,  its  minstrels,  and  heralds,  and  damosels  in  lofty 
towers,  had  its  hard  blows,  its  wounds,  and  sometimes  its  deaths." 
But  the  tournaments  of  Shakespeare's  time,  and  such  as  Proteus 
was  sent  to  practice,  were  "  the  tournaments  of  gay  pennons  and 
pointless  lances ;"  as  magnificent  indeed  as  the  old  knightly  en- 
counters, but  "  as  harmless  to  the  combatants  as  those  between 
other  less  noble  actors,  the  heroes  of  the  stage."  The  Poet  had 
no  doubt  witnessed  some  of  these  "  courtly  pastimes,"  as  held  by 
her  Majesty  in  the  tiltyard  at  Westminster,  or  by  proud  Leicester 
in  the  tiltyard  at  Kenilworth. 

44.  break  ivith  him: — This  use  of  break  for  broach  or  open  (the 
matter  to  him)  is  one  of  many  instances  showing  how  much  the 
use  of  prepositions  has  changed.  To  break  with  a  person,  now 
wears  a  very  different  meaning. 

84-87.  O,  how  this  spring,  etc. : — Note  with  what  accuracy  and 

113 


Notes  TWO  GENTLEMEN 

vividness  the  Poet  here  paints  the  manners  of  April.  The  play 
was  written  in  his  youth,  when  he  was  more  at  home  with  ex- 
ternal nature  than  with  man,  his  mind  not  having  yet  climbed  the 
height  of  this  latter  argument.  The  fine  ecstasy  with  which,  in 
his  earlier  plays,  as  in  his  poems,  he  dwells  on  the  movements  and 
aspects  of  nature  may  well  send  one's  thoughts  to  a  passage  of 
Wordsworth,  describing  his  youthful  self : — 

"  For  nature  then 
To  me  was  all  in  all.     I  cannot  paint 
What  then  I  was.    The  sounding  cataract 
Haunted  me  like  a  passion :  the  tall  rock, 
The  mountain,  and  the  deep  and  gloomy  wood, 
Their  colours  and  their  forms,  were  then  to  me 
An  appetite ;  a  feeling  and  a  love." 


ACT  SECOND. 
Scene  I. 

2.  one: — On  and  one  were  sometimes  pronounced  alike,  and 
also  written  so ;  this  is  but  a  quibble  based  on  such  identity  of 
pronunciation. 

24,  takes  diet: — To  take  diet  is  to  be  under  a  regimen  for  a 
disease. 

26.  Hallozvmas : — The  feast  of  All-hallows,  or  All  Saints,  at 
which  time  the  poor  in  some  places  went  from  parish  to  parish 
a-souling,  as  they  called  it;  that  is,  begging  and  puling  (or  singing 
small,  as  Bailey's  Dictionary  explains  puling),  for  soul-cakes,  and 
singing  what  they  called  the  souler's  song.  These  terms  point  out 
the  condition  of  this  benevolence,  which  was,  that  the  beggars 
should  pray  for  the  souls  of  the  giver's  departed  friends. 

y2,-  going  ungartered: — This  is  mentioned  by  Rosalind  {As  You 
Like  It,  III.  iii.)  as  one  of  the  undoubted  marks  of  love:  "Then 
your  hose  should  be  ungartered,  your  bonnet  unhanded,"  etc. 

85.  Set  for  seated,  in  opposition  to  stand  in  the  preceding  line. 
It  appears,  however,  to  be  used  metaphorically  in  the  sense  ap- 
plied to  the  sun  when  it  sinks  below  the  horizon. 

94.  As  motion  signified  a  puppet-show,  whereat  the  showman 
was  called  the  interpreter,  Speed  means,  '*  What  a  fine  puppet- 

114 


OF  VERONA  Notes 

show  shall  we  have  now !    Here  is  the  principal  puppet  to  whom 
my  master  will  act  as  showman." 

99,  Sir  Valentine  and  servant: — "Here,"  says  Sir  J.  Hawkins, 
"  Silvia  calls  her  lover  servant,  and  again  her  gentle  servant.  This 
was  the  common  language  of  ladies  to  their  lovers,  at  the  time 
when  Shakespeare  wrote."  Henry  James  Pye,  in  his  Comments 
on  the  Commentators,  observes  that,  "in  the  Noble  Gentlemen  of 
Beaumont  and  Fletcher,  the  lady's  gallant  has  no  other  name  in  the 
dramatis  personae  than  servant,"  and  that  "  mistress  and  servant 
are  always  used  for  lovers  in  Dryden's  plays."  Knight,  however, 
believes  "  that  Shakespeare  here  uses  the  words  in  a  much  more 
general  sense  than  that  which  expresses  the  relations  between  two 
lovers.  At  the  very  moment  that  Valentine  calls  Silvia  mistress 
he  says  that  he  has  written  for  her  a  letter — '  some  lines  to  one 
she  loves ' — unto  a  '  secret  nameless  friend ' ;  and  what  is  still 
stronger  evidence  that  the  word  '  servant '  had  not  the  full  mean- 
ing of  lover,  but  meant  a  much  more  general  admirer,  Valentine, 
introducing  Proteus  to  Silvia,  says, 

'  Sweet  lady,  entertain  him 
To  be  my  fellow-servant  to  your  ladyship;' 

and  Silvia,  consenting,  says  to  Proteus, 

*  Servant,  you  are  welcome  to  a  worthless  mistress.' 

"  Now,  when  Silvia  says  this,  which,  according  to  the  meaning 
which  has  been  attached  to  the  words  servant  and  mistress,  would 
be  a  speech  of  endearment,  she  had  accepted  Valentine  really  as 
her  betrothed  lover,  and  she  had  been  told  by  Valentine  that 
Proteus 

'Had  come  along  with  me,  but  that  his  mistress 
Did  hold  his  eyes  lock'd  in  her  crystal  looks.' 

"  It  appears,  therefore,  that  we  must  receive  these  words  in  a 
very  vague  sense,  and  regard  them  as  titles  of  courtesy,  derived, 
perhaps,  from  the  chivalric  times,  when  many  a  harnessed  knight 
and  sportive  troubadour  described  the  lady  whom  they  had  gazed 
upon  in  the  tiltyard  as  their  '  mistress,'  and  the  same  lady  looked 
upon  each  of  the  gallant  train  as  a  '  servant '  dedicated  to  the 
defence  of  her  honour,  or  the  praise  of  her  beauty." 

115 


Notes  TWO  GENTLEMEN 

Scene  II. 

[Verona.]  About  fifteen  months  elapse  between  the  first  Scene 
and  this.  For  in  that,  the  ship  waits  for  Valentine  to  embark  for 
Milan,  while  on  the  next  day  after  the  occurrences  in  this,  Proteus 
also  leaves  Verona  for  the  same  city,  where  he  arrives  in  the 
middle  of  Act  II.,  and  where  the  subsequent  events  of  that  Act 
and  of  Act  III.  occupy  but  a  few  days ;  and  as  in  the  first  Scene 
of  Act  IV.  Valentine  tells  the  Outlaws  that  he  sojourned  in 
Milan  "  some  sixteen  months,"  nearly  all  of  that  period  must  have 
passed  before  the  departure  of  Proteus  from  Verona.  The  divi- 
sion of  this  comedy  into  acts  might  be  improved;  but  we  have  no 
right  to  remove  this  evidence  of  Shakespeare's  inexperience  when 
he  wrote  it,  even  if  we  admit  that  he  was  much  solicitous  at  any 
period  about  the  probabilities  of  time. 

5  et  scq.  Keep  this  remembrance,  etc. : — The  ceremonial  of  be- 
trothing, for  which  a  ritual  was  formerly  provided,  is  thus  set 
down  by  the  Priest  in  Twelfth  Night,  V.  i. : — 

"  A  contract  of  eternal  bond  of  love, 
Confirm'd  by  mutual  joinder  of  your  hands, 
Attested  by  the  holy  close  of  lips, 
Strengthen'd  by  interchangement  of  your  rings,"  etc. 

♦Scene  III. 

17.  this  left  shoe: — This  shows  that  in  the  Poet's  time  each 
foot  had  its  several  shoe ;  which  fashion,  once  laid  aside,  has 
grown  into  general  use  again  almost  within  the  recollection  of 
the  present  generation. 

24-26.  /  am  the  dog,  etc. : — Launce  here  gets  entangled  with  his 
own  ingenuity,  and  the  Poet  probably  did  not  mean  to  extricate 
him. 

30.  like  a  wood  woman: — Wood  is  an  old  word  for  frantic 
or  jnad :  so  that  the  speaker  means  that  his  mother  was  frantic 
with  grief  at  parting  with  so  hopeful  a  son.  Perhaps  the  sense 
would  be  clearer,  if  we  read,  "  O,  that  the  shoe  could  speak  now," 
etc. 

55,  56.  The  first,  tide,  refers  to  the  river;  the  last,  tied,  to  the 
dog.  In  the  original  tide  and  tied  are  both  spelt  the  same  way, 
tide,  which  renders  the  quibble  more  obvious. 

116 


OF  VERONA  Notes 

Scene  IV. 

20.  My  jerkin  is  a  doublet : — "  The  jerkin,  or  jacket,"  observes 
Knight,  "  was  generally  worn  over  the  doublet ;  but  occasionally 
the  doublet  was  worn  alone,  and,  in  many  instances,  is  confounded 
with  the  jerkin.  Either  had  sleeves  or  not,  as  the  wearer  fancied; 
for  by  the  inventories  and  wardrobe  accounts  of  the  time,  we  find 
that  the  sleeves  were  frequently  separate  articles  of  dress,  and 
attached  to  the  doublet,  jerkin,  coat,  or  even  woman's  gown,  by 
laces  or  ribbands,  at  the  pleasure  of  the  wearer.  A  '  doblet  jaquet ' 
and  hose  of  blue  velvet,  cut  upon  cloth  of  gold,  embroidered,  and 
a  '  doblet  hose  and  jaquet '  of  purple  velvet,  embroidered,  and  cut 
upon  cloth  of  gold,  and  lined  with  black  satin,  are  entries  in  an 
inventory  of  the  wardrobe  of  Henry  VIII.  In  1535,  a  jerkin  of 
purple  velvet,  with  purple  satin  sleeves,  embroidered  all  over 
with  Venice  gold,  was  presented  to  the  king  by  Sir  Richard 
Cromwell;  and  another  jerkin  of  crimson  velvet,  with^  wide 
sleeves  of  the  same  coloured  satin,  is  mentioned  in  the  same  inven- 
tory." 

JZ-  He  is  complete  in  feature: — Feature,  originally  meaning 
form,  making,  was  applied  by  Shakespeare  and  his  contempo- 
raries to  the  whole  person.  Thus  in  Heywood's  Helen  to  Paris, 
1609: — 

"  Three  goddesses  stripp'd  naked  to  your  eye, 

I  scarce  believe  those  high  immortal  creatures 
Would  to  your  eye  expose  their  naked  features." 

So  also  Spenser:  "Which  the  fair  feature  of  her  limbs  did  hide." 
138.  There  is  no  zvoe  to,  etc. :— That  is,  no  misery  in  comparison 
with  that  inflicted  by  love ;  a  form  of  speech  formerly  not  unusual. 
Thus  an  old  ballad :  "  There  is  no  comfort  in  the  world  to  women 
that  are  kind." 

209.  'Tis  hut  her  picture:— Dr.  Johnson  criticized  the  Poet  for 
making  Proteus  say  he  has  but  seen  the  picture  of  Silvia,  when 
he  has  just  been  talking  with  the  lady  herself.  But  the  blunder 
was  the  critic's,  not  Shakespeare's.  Proteus  wants  to  get  deeper 
in  love  with  Silvia,  and  so  resorts  to  the  argument  that  the  little 
he  has  seen  of  her  is  as  though  he  had  but  seen  her  picture.  The 
figure  is  not  more  apt  for  his  purpose  than  beautiful  in  itself. 

117 


Notes  TWO  GENTLEMEN 

Scene  V. 

38,39.  hozv  sayest  thou: — That  is,  "What  say'st  thou  to  this 
circumstance?  "  So  in  Macbeth,  III.  iv. :  "How  say'st  thou,  that 
Macduff  denies  his  person  at  our  great  bidding?" 

Scene  VI. 

35.  Competitor,  here  meaning  confederate,  associate,  or  partner, 
is  likewise  used  in  Antony  and  Cleopatra,  V.  i. : — 

"  That  thou,  my  brother,  my  competitor 
In  top  of  all  design,  my  mate  in  empire. 
Friend  and  companion  in  the  front  of  war." 

Scene  VII. 

3.  table: — That  is,  table-book,  or  book  of  tablets.  They  were 
carried  in  the  pockets  and  used  for  noting  down  memoranda. 
Thus  the  well-known  lines  in  Hamlet,  I.  v.: — 

"  from  the  table  of  my  memory 
I  '11  wipe  away  all  trivial  fond  records." 

And  again : — 

"  My  tables, — meet  it  is  I  set  it  down, 
That  one  may  smile,  and  smile,  and  be  a  villain." 

9,  10.  A  true-devoted  pilgrim,  etc. : — An  allusion  to  the  pil- 
grimages formerly  made  by  religious  enthusiasts,  often  to  Rome, 
Compostella,  and  Jerusalem,  but  oftener  still  to  "  the  House  of 
our  Lady  at  Loretto."  In  that  age,  when  there  were  few  roads 
and  many  robbers,  to  go  afoot  and  alone  through  all  the  pains  and 
perils  of  a  passage  from  England  to  either  of  those  shrines,  was 
deemed  proof  that  the  person  was  thoroughly  in  earnest. 

51.  your  fartJiingalc : — The  farthingale,  according  to  Fairholt, 
as  quoted  by  White,  was  originally  a  broad  roll,  which  made  the 
person  full  about  the  hips.  It  came  to  be  applied  to  the  gown  so 
widened. 

70.  Infinite  is  here  used  for  infinity.  So  in  Much  Ado  About 
Nothing,  II.  iii.,  we  find  "  the  infinite  of  thought ;"  and  Chaucer 
has  "Although  the  life  of  it  be  stretched  with  infinite  of  time." 

118 


OF  VERONA  Notes 

85.  my  longing  journey : — "  The  Journey  that  I  long  to  be 
making;"  or,  it  may  mean,  "the  journey  that  I  shall  make  with 
continual  longing  to  reach  the  end  of  it." 

88.  in  lieu  thereof: — That  is,  in  consideration  thereof,  or  in 
return  for.  This  use  of  lieu  is  not  uncommon  in  the  old  writers. 
So  in  Hooker's  Eccle.  Pol.,  I.  xi.  5 :  "  But  be  it  that  God  of  his 
great  liberality  had  determined  in  lieu  of  man's  endeavours  to 
bestow  the  same."  And  in  Spenser's  dedication  of  his  Four 
Hymns:  "  Beseeching  you  to  accept  this  my  humble  service,  in  lieu 
of  the  great  graces  and  honourable  favours  which  ye  daily  show 
unto  me." 

ACT   THIRD.   , 
Scene  I. 

185.  to  -fly : — That  is,  hy  Hying,  or  in  Hying. 

191.  hair: — Launce  is  still  quibbling:  he  is  running  down  the 
hare  he  started  when  he  first  entered. 

296.  Saint  Nicholas  he  thy  speed! — Saint  Nicholas  had  many 
weighty  cares,  but  was  best  known  as  the  patron  saint  of  scholars, 
in  which  office  he  is  here  invoked.  He  is  said  to  have  gained  this 
honour  by  restoring  to  life  three  scholars,  whom  a  wicked  host 
had  murdered  while  on  their  way  to  school.  By  the  statutes  of 
St.  Paul's  School,  London,  the  scholars  are  required  to  attend 
divine  service  in  the  cathedral  on  the  anniversary  of  Saint  Nicho- 
las. The  parish  clerks  of  London,  probably  because  scholars  were 
called  clerks,  formed  themselves  into  a  guild,  with  this  saint  for 
their  patron.  In  i  Henry  IV.  thieves  are  called  Saint  Nicholas's 
clerks ;  whether  from  the  similarity  of  the  names  Nicholas  and 
Old  Nick,  or  from  some  similarity  of  conduct  in  thieves  and 
scholars  in  the  old  days  of  learned  beggary  does  not  fully  appear. 

305,  306.  stack : — Launce's  play  on  this  word  is  explained  by 
Hudson  as  follows :  "  The  last  stock  means  stocking ;  the  other, 
dower,  or  stock  of  goods,  probably." 

345.  liberal: — That  is,  free  beyond  the  allowings  of  modesty. 
Liberal  was  frequently  used  as  meaning  licentious. 

358.  The  cover  of  the  salt: — "The  ancient  English  salt-cellar," 
says  Malone,  "  was  very  different  from  the  modern,  being  a  large 
piece  of  plate,  generally  much  ornamented,  with  a  cover,  to  keep 
the  salt  clean.    There  was  but  one  salt-cellar  on  the  dinner-table, 

119 


Notes  TWO  GENTLEMEN 

which  was  placed  near  the  top  of  the  table;  and  those  who  sat 
below  the  salt  were,  for  the  most  part,  of  an  inferior  condition 
to  those  who  sat  above  it." 

Scene  II. 

53.  bottom  it: — "As  you  unwind  her  love  from  him,  make  me 
the  bottom  on  which  you  wind  it.  A  bottom  is  the  housewife's 
term  for  that  upon  which  a  ball  of  yarn  or  thread  is  wound.  Thus 
in  Grange's  Garden,  1557: — 

"A  bottom  for  your  silk,  it  seems, 
My  letters  are  become. 
Which,  oft  with  winding  off  and  on. 
Are  wasted  whole  and  some." 

87.  inherit  her: — To  inherit  is  sometimes  used  by  Shakespeare 
for  to  gain  possession  of,  without  any  notion  of  inheritance.  Mil- 
ton, in  Comus,  has  "disinherit  Chaos,"  meaning  only  to  dispos- 
sess it. 

92.  To  sort,  to  choose  out. 


ACT  FOURTH. 
Scene  I. 

2,Z.  Have  you  the  tongues?— Th2.t  is,  do  you  speak  foreign  lan- 
guages ? 

36.  Robin  Hood's  fat  friar: — Friar  Tuck,  the  chaplain  of  Robin 
Hood's  merry  crew ;  that  ancient  specimen  of  clerical  baldness  and 
plumpness  and  jollity,  who  figures  so  largely  in  old  ballads  and 
in  Ivanhoe.    Recall  what  Drayton  says  : — 

"  Of  Tuck,  the  merry  friar,  which  many  a  sermon  made 
In  praise  of  Robin  Hood,  his  outlaws,  and  his  trade." 

46.  azvful  men  : — Men  full  of  awe,  or  reverence  for  just  author- 
ity, the  duties  of  life,  and  the  laws  of  society.  See  Milton's  Hymn 
of  the  Nativity  : — 

"  And  kings  sat  still  with  azvful  eye, 
As  if  they  surely  knew  their  sovereign  Lord  was  by." 

120 


OF  VERONA  Notes 

Scene  11. 

12.  sudden  quips : — Quips,  meaning  bitter  retorts,  or  sharp  sar- 
casms, thus  occurs  in  Much  Ado  About  Nothing,  II.  iii.  241-243: 
"  Shall  quips  and  sentences  and  these  paper  bullets  of  the  brain 
awe  a  man  from  the  career  of  his  humour?  " 

75.  out  of  all  nick : — That  is,  beyond  all  reckoning.  Accounts 
were  formerly  kept  by  cutting  nicks  or  notches  in  a  tally-stick. 
Thus  in  A  Woman  Never  Vexed,  1532 :  "  I  have  carried  these 
tallies  at  my  girdle  seven  years  together;  for  I  did  ever  love  to 
deal  honestly  in  the  nick."  The  time  is  not  very  remote  when 
such  tallies  were  finally  disused  in  the  English  Exchequer ;  being 
laid  aside,  no  doubt,  because  the  accounts  grew  to  be  out  of  all 
nick. 

83.  Saint  Gregory's  well: — This  was  probably  one  of  the  "holy 
wells  "  to  which  popular  belief  attributed  supernatural  virtues, 
and  which  were  visited  something  as  our  fashionable  watering- 
places  are,  but  usually,  no  doubt,  with  different  feelings.  The 
town  in  which  is  Saint  Winifred's  well,  in  North  Wales,  is  called 
Holywell.  The  well  is  still  inclosed  by  the  Gothic  temple  erected 
by  the  mother  of  Henry  VII. 

135.  halidom : — Nares  says  that  this  word  is  properly  derived 
from  Jwly  and  dom,  like  kingdom,  making  the  oath  mean  some- 
thing like  by  my  faith.  Some  complete  it  thus :  "  By  my  faith 
as  a  Christian." 

140.  most  heaviest: — The  double  superlative,  as  well  as  the 
double  comparative,  was  often  used  in  Shakespeare's  time. 


Scene  III. 

21.  thou  vow'dst  pure  chastity : — It  was  common  in  former  ages 
for  widowers  and  widows  to  make  vows  of  chastity  in  honour  of 
their  deceased  wives  or  husbands,  and  sometimes,  perhaps,  of 
those  only  betrothed,  as  Sir  Eglamour  probably  was. 

Scene  IV. 

10.  trencher: — A  wooden  platter.  That  the  daughter  of  a  duke 
should  eat  from  a  trencher  need  not  seem  strange,  since  in 
Shakespeare's  day  this  utensil  was  used  by  persons  of  the  highest 

121 


Notes  TWO  GENTLEMEN 

rank.  In  the  privy-purse  expenses  of  Henry  VIII.  are  entries 
pointing  to  the  service  of  trenchers  on  the  king's  table. 

I SS.  sun-expelling  mask: — Alluding,  probably,  to  the  custom 
thus  noticed  by  Stubbes  in  his  Anatomie  of  Abuses:  "When  they 
use  to  ride  abroad,  they  have  masks  or  visors  made  of  velvet, 
wherewith  they  cover  their  faces,  having  holes  made  in  them 
against  their  eyes,  whereout  they  look." 

170.  agood: — This  word,  meaning  in  good  earnest,  heartily, 
though  used  by  Shakespeare  only  in  this  place,  is  met  with  occa- 
sionally in  contemporary  and  earlier  writers.  So  in  Drayton's 
Dowsahell,  1593: — 


"  But  then  the  shepherd  pip'd  a- 
That  all  his  sheep  forsook  their  food 
To  hear  his  melody." 

196.  periwig : — False  hair  was  much  worn  by  ladies  in  Shake- 
speare's time,  probably  on  account  of  a  general  desire  to  have  hair 
like  Queen  Elizabeth's.  The  fashion  is  thus  referred  to  in  The 
Merchant  of  Venice,  III.  ii. : — 

"  So  are  those  crisped  snaky  golden  locks 
Which  make  such  wanton  gambols  with  the  wind, 
Upon  supposed  fairness,  often  known 
To  be  the  dowry  of  a  second  head, 
The  skull  that  bred  them  in  the  sepulchre." 

197.  grey  as  glass : — The  grey  eyes  of  the  Poet's  time  were  the 
same  as  the  blue  eyes  of  ours.  Glass  was  not  colourless  then,  as 
we  have  it,  but  of  a  light-blue  tint.  So  that  eyes  as  grey  as  glass 
were  of  the  soft  azure  or  cerulean,  such  as  usually  go  with  the 
auburn  and  yellow  hair  of  Silvia  and  Julia. 

198.  her  forehead's  low,  etc.: — "Forehead,"  says  White,  "was 
formerly  used,  as  it  now  too  often  is,  for  brozu ;  and  to  the  beauty 
of  a  broad,  low  brow  (which  may  exist  with  a  high  fore-head,  as 
we  see  in  the  finest  antique  statues)  the  folk  of  Shakespeare's  day 
seem  to  have  been  blind.  Perhaps  in  this  too  they  paid  their 
court  to  the  bald-browed  Virgin  Queen.  There  are  fashions  even 
in  beauty." 

206.  statue: — The  words  statue  and  picture  were  sometimes 
used  interchangeably.  Thus  Stowe,  speaking  of  Elizabeth's 
funeral,  says  :  "  When  they  beheld  her  statue  or  picture  lying  upon 
the  coffin  there  was  a  general  sighing."    And  in  Massinger's  City 

122 


OF  VERONA  Notes 

Madam,  Frugal  wishes  his  daughters  to  "  take  leave  of  their  late 
suitors'  statues'';  and  Luke  answers,  "  There  they  hang." 


ACT   FIFTH. 
Scene  II. 

7.  But  love,  etc. : — In  the  Folios  this  speech  is  given  to  Proteus, 
and  the  next  speech  of  Julia  to  Thurio.  Boswell  corrected  the 
first,  and  Rowe  the  other. 

Scene  IV. 

6.  record: — Commonly  used  as  meaning  to  sing.  So  in  Dray- 
ton's Eclogues : — 

"  Fair  Philomel,  night-music  of  the  spring, 
Sweetly  records  her  tuneful  harmony." 

Cotgrave  and  others  speak  of  the  birds  recording,  that  is,  war- 
bling. 

83.  All  that  was  mine,  etc. : — This  is  a  strange  passage.  Many 
commentators  have  tried  hard,  in  different  ways,  to  make  it  look 
reasonable ;  but  there  is  an  extravagance  about  it  that  will  not 
yield  to  editorial  skill.  Here  is  a  remark  upon  it  in  Charles  and 
Mary  Lamb's  Tales  from  the  Plays  of  Shakespeare :  "  Proteus 
expressed  such  a  lively  sorrow  for  the  injuries  he  had  done  to 
Valentine,  that  Valentine,  whose  nature  was  noble  and  generous 
even  to  a  romantic  degree,  not  only  forgave  and  restored  him  to 
his  former  place  in  his  friendship,  but  in  a  sudden  flight  of  hero- 
ism he  said,  '  I  freely  do  forgive  you ;  and  all  the  interest  I  have 
in  Silvia  I  give  it  up  to  you ! '  "  Dyce,  speaking  of  "  this  over- 
strained and  too  generous  act  of  friendship,"  no  doubt  more  cor- 
rectly says :  "  Nor  would  Shakespeare  probably,  if  the  play  had 
been  written  in  his  maturer  years,  have  made  Valentine  give  way 
to  such  'a  sudden  flight  of  heroism':  but  the  Tzvo  Gentlemen  of 
Verona  was  undoubtedly  an  early  production  of  the  Poet ;  and  in 
stories  popular  during  his  youth  he  may  have  found  similar  in- 
stances of  romantic  generosity."  White's  remark  is :  "  Much  of 
little  worth  has  been  written  upon  this  singular  passage.  But  it 
appears  to  be  uncorrupted,  and  it  has  a  plain  meaning.    Comment 

123 


Notes  TWO  GENTLEMEN 

upon  it,  therefore,  seems  to  be  the  function,  not  of  the  editor  of 
Shakespeare's  works,  but  of  the  philosophical  critic  upon  his 
poetry  and  dramatic  art.  It  is  proper  to  remark,  however,  that 
Valentine  displays  a  similar  overstrained  generosity  when,  on  the 
arrival  of  Proteus  (II.  iv.)  he  twice  earnestly  entreats  Silvia  to 
receive  his  friend  as  her  lover,  on  equal  terms  with  him — as  his 
'  fellow-servant '  to  her." 

94.  cry  you  mercy : — That  is,  ask  your  pardon. 

101-103.  gave  aim,  etc. : — Allusion  to  archery.  That  which  gave 
aim  was  the  mark  at  which  the  archer  shot.  The  root  means  the 
pin,  to  cleave  which  was  to  hit  the  centre  of  the  mark. 

106,  107.  //  shame  live,  etc. : — That  is,  if  it  be  any  shame  to  wear 
a  disguise  in  such  a  cause. 

129.  Verona  sJiall  not  hold  thee : — "  To  Valentine's  apprehen- 
sion," says  White,  "  the  whole  party  were  on  their  way  from 
Milan  to  Verona,  as  he  was  when  the  Outlaws  stayed  him ;  and 
therefore  his  threat  to  Thurio  that  he  shall  never  reach  his  des- 
tination. Theobald,  not  perceiving  this,  and  seeing  only  that 
'  Thurio  is  a  Milanese,  and  has  no  concern,  as  it  appears,  with 
Verona,'  in  his  perplexity  reads  '  Milan  shall  not  behold  thee.' 
This  is  cutting  the  knot,  with  a  vengeance.  But  the  difficulty  an(i 
the  solution  have,  with  too  little  thought,  been  accepted  by  suc- 
ceeding editors.  Mr.  Singer  even  adds  that  '  the  Scene,  too,  is 
between  the  confines  of  Milan  and  Mantua,'  as  support  for  the 
rejection  of  any  allusion  to  Verona.  This,  however,  is.  not  the 
case,  as  appears  from  the  fact  that  Silvia  takes  flight  before  sun- 
set in  Sc.  i.  of  this  Act,  is  pursued  immediately,  as  we  see  by  the 
Duke's  speech  in  Sc.  ii.,  is  seized  by  the  Outlaws  in  the  next  scene, 
and  is  rescued  in  the  next.  The  events  evidently  pass  with  great 
rapidity;  and  the  same  safety  from  pursuit  which  Sir  Eglamour 
promised  Silvia  in  the  forest  '  not  three  leagues  '  from  Milan,  had 
been  previously  found  there  by  the  Outlaws. 

152.  men  that  I  have  kept  unthal: — That  is,  that  I  have  been 
living  with.    Shakespeare  often  uses  kept  for  lived  or  dzvelt. 


124 


OF  VERONA 


Questions  on 

Two  Gentlemen  of  Verona. 


1.  What  is  the  probable  date  of  the  composition  of  this  play? 
When  was  the  play  first  published? 

2.  From  what  sources  was  the  play  derived? 

3.  What  is  the  time  covered  in  the  play? 

ACT   FIRST. 

4.  With  what  situation  does  it  open? 

5.  What  has  Valentine  to  say  of  stay-at-homes?  Is  it  a  truth 
of  general  application? 

6.  How  does  Proteus  report  himself  as  a  lover?  What  is  said 
to  be  the  object  of  Valentine's  hunt? 

7.  What  excess  of  manner  over  matter  does  this  Scene  contain 
that  marks  the  play  as  early  work?  Mention  some  of  the  verbal 
conceits. 

8.  What  does  Speed  report  of  Julia,  to  whom  he  was  sent  to 
deliver  Proteus's  letter?  How  do  we  know  that  he  did  not  see 
Julia?    What  two  dramatic  effects  are  secured  by  this  mistake? 

9.  What  epithets  does  Julia  apply  to  the  suitors  she  presents 
for  Lucetta's  approval?  Is  there  any  covert  implication  that  Pro- 
teus is  preferred? 

10.  May  Lucetta  be  regarded  as  the  prototype  of  the  Nurse  in 
Romeo  and  Juliet?  \ 

11.  What  traits  of  character  does  Julia  display?  Does  she  pos- 
sess charm? 

12.  Does  Shakespeare  show  more  art  than  nature  in  the  first 
two  Scenes? 

13.  What  comment  on  the  activities  of  the  Elizabethan  era  do 
you  see  in  Sc.  iii.? 

14.  Did  Julia  send  a  reply  to  Proteus's  letter?  What  part  does 
the  letter  play  in  the  action? 

15.  Is  there  adequate  motive  assigned  for  the  precipitate  de- 

125 


Questions  TWO  GENTLEMEN 

parture  of  Proteus  ?    Compare  Antonio  with  Capulet  (Romeo  and 
Juliet),  Frederick  (As  You  Like  It). 

i6.  What  feeling  had  Proteus  about  going  away  and  leaving 
Julia? 

ACT   SECOND. 

17.  What  does  Sc.  i.  develop  of  Valentine's  new  love?  What 
humorous  comments  on  the  state  of  a  lover  does  Speed  make? 

18.  How  does  Shakespeare  balance  passion  and  drollery  in  this 
scene? 

19.  How  does  Silvia  convict  Valentine  of  self-consciousness? 

20.  What  is  Speed's  comment  after  Silvia's  exit?  How  does  it 
apply  to  Valentine? 

21.  How  does  Speed  enlarge  upon  the  conceit  with  which  Silvia 
quits  the  scene? 

22.  What  does  Sc.  ii.  deal  with?  What  token  does  Julia  give  to 
Proteus?  What  evidences  does  this  scene  contain  that  Proteus  is 
an  insincere  lover?     Compare  him  with  Valentine. 

23.  What  mental  kinship  does  Launce  share  with  the  First 
Grave-digger  in  Hamlet? 

24.  What  part  in  the  action  does  Sir  Thurio  play?  What  occa- 
sion does  he  take  to  pick  a  quarrel  with  Valentine?  What  is  the 
result  of  their  battle  of  wits? 

25.  What  exaggeration  of  friendly  praise  of  Proteus  does 
Valentine  indulge  in?    How  does  the  Duke  answer  this? 

26.  How  does  Valentine's  rhapsody  on  love  (Sc.  iv.)  differ 
from  Romeo's  rhapsody  beneath  Juliet's  balcony? 

27.  Proteus  says  to  Valentine,  when  I  was  sick,  you  gave  me 
hitter  pills;  and  I  must  minister  the  like  to  you.  Infer  the  flavor 
of  the  bitter  pill  from  the  natures  of  the  two  men. 

28.  What  plan  for  his  marriage  does  Valentine  confide  to 
Proteus  ? 

29.  Analyze  the  state  of  mind  displayed  by  Proteus  in  the  solilo- 
quy with  which  Sc.  iv.  closes. 

30.  What  is  your  estimate  of  his  reasons  for  turning  false  to 
love  and  friendship? 

31.  Explain  the  dramatic  effect  of  Sc.  v. 

32.  Does  Proteus  prove  himself  an  egoist  in  his  soliloquy  in 
Sc.  vi.?  Compare  him  with  Meredith's  Sir  Willoughby  Patterne. 
Is  he  capable  of  any  real  love? 

ZZ'  What  traitorous  plan  does  he  reveal? 

126 


OF  VERONA  Questions 

34.  Where  is  Sc.  vii.  laid?    What  journey  and  in  what  disguise 
is  Julia  about  to  take? 

35.  What  fears  for  her  reputation  does  she  express? 

36.  What  reassurance  does  Lucetta  offer? 
:>;j.  Is  Lucetta  a  wise  counsellor? 


ACT  THIRD. 

38.  How  does  Proteus  excuse  his  falsity  to  his  friend  in  inform- 
ing the  Duke? 

39.  What  precautionary  measures  had  the  Duke  taken  against 
Valentine's  rashness? 

40.  What  preparation  for  the  scene  between  the  Duke  and 
Valentine  does  Proteus  furnish? 

41.  What  double  motive  (i.  44  et  scq.)  do  you  find  in  Pro- 
teus's  words? 

42.  What  effect  of  contrast  between  Valentine  and  Proteus 
(line  63)  is  secured  in  what  Valentine  says  to  the  Duke  of 
Thurio  ? 

43.  By  what  trick  does  the  Duke  uncover  the  purposes  of 
Valentine?     Does  Valentine  become  too  easy  a  prey? 

44.  Of  what  does  the  Duke  accuse  him? 

45.  Where  is  the  climax  of  the  drama  ? 

46.  What  dramatic  effect  is  produced  (line  189  et  seq.)  by 
making  Launce  the  centre  of  interest  for  the  moment? 

47.  Compare  the  love-despair  of  Valentine  with  that  of  Romeo. 
Which  is  treated  more  imaginatively? 

48.  In  what  other  respect  is  the  plight  of  Valentine  similar  to 
that  of  Romeo? 

49.  How  do  Proteus  and  Valentine  separate? 

50.  Who  first  detects  villainy  in  Proteus? 

51.  What  is  the  dramatic  effect  of  this  dialogue  between  Speed 
and  Launce?     What  justifies  its  length? 

52.  Summarize  this  Scene  and  note  the  rise  and  fall  of  emotion. 
Where  is  the  highest  pitch?  What  saves  the  Scene  from  anti- 
climax? 

53.  Is  Proteus  superior  to  the  Duke  in  intellect?  What  means 
does  he  take  with  the  Duke  to  get  his  own  plans  adopted?  Illus- 
trate by  Sc.  ii. 

54.  What  is  the  metrical  form  of  Proteus' s  speech,  beginning 
with  line  73? 

127 


Questions  TWO  GENTLEMEN 


ACT  FOURTH 

55.  What  reason  does  Valentine  give  the  Outlaws  for  his  ban- 
ishment? 

56.  How  is  his  untruth  made  absurd  by  the  first  Outlaw  who 
accounts  for  his  own  banishment? 

57.  On  account  of  what  qualities  is  Valentine  made  chief  of  the 
Outlaws  ? 

58.  What  part  of  this  Scene  has  a  forward  glance? 

59.  Is  Proteus  (Sc.  ii.)  troubled  by  genuine  rebuke  of  con- 
science or  chagrin  that  Silvia  has  not  accepted  his  suit? 

60.  How  is  the  faithlessness  of  Proteus  made  known  to  Julia? 
Is  there  any  moment  of  the  play  when  Shakespeare's  art  is  more 
perfect  ? 

61.  What  do  you  understand  to  be  the  change  in  the  music  to 
which  the  Host  refers? 

62.  How  is  Proteus  received  by  Silvia?  How  does  he  further 
entangle  himself  by  falsehoods? 

63.  What  boon  is  finally  granted  by  Silvia? 

64.  What  ironic  touch  does  the  Host  supply  ? 

65.  What  points  of  resemblance  do  you  see  between  Sir  Egla- 
mour  and  Prospero  of  The  Tempest? 

66.  Is  there  an  element  of  satire  in  the  episode  (Sc.  iv.)  of 
Launce  and  his  dog?    Explain  its  implication. 

67.  In  what  later  play  of  Shakespeare  is  the  situation  of  this 
Scene  repeated? 

68.  Does  Julia  carry  out  her  purpose  to  plead  coldly  in  Pro- 
teus's  behalf? 

ACT  FIFTH. 

69.  Give  your  opinion  of  the  humorous  interludes  spoken  by 
Julia  in  Sc.  ii.    What  later  play  repeats  this  situation? 

70.  Is  the  defection  of  Sir  Eglamour  consistent  with  the  view 
of  him  given  in  the  preceding  Act? 

71.  What  is  the  temper  of  Valentine's  reflections  in  Sc.  iv.? 
What  later  drama  do  they  anticipate? 

72.  Describe  the  resolution  of  the  drama. 

73.  After  Silvia  had  been  rescued  from  the  Outlaws,  do  you  see 
any  weakening  of  her  protest  against  the  wooing  of  Proteus? 

128 


OF  VERONA  Questions 

74.  Account  for  the  willingness  of  Valentine  to  surrender  Silvia 
to  Proteus. 

75.  By  the  tightening  of  cords  that  involve  Proteus  up  to  the  last 
is  there  any  conclusion,  consistent  with  comedy,  other  than  the 
one  Shakespeare  uses?  Where  then  is  the  structural  defect  of 
the  play  ? 


'jd.  Compare  this  play  with  the  two  earlier  comedies,  Love's 
hahour's  Lost  and  Comedy  of  Errors,  and  note  the  similarities 
and  differences  in  metrical  form. 

77.  What  evidences  of  the  growth  of  the  Poet's  art  do  you 
discover? 

78.  Is  Shakespeare  here  more  intent  in  perfecting  his  art  than 
in  developing  character?  Compare  a  play  like  this  with  the  early 
volume  of  Tennyson. 

79.  Mention  other  plays  containing  situations  similar  to  some  in 
this  play.  What  does  this  comparison  show  regarding  Shake- 
speare's power  of  inventing  incident? 

80.  Compare  Valentine  with  Romeo;  Julia  with  Viola  and 
Imogen. 

81.  Is  there  any  more  humorous  clown  in  Shakespeare  than 
Launce  ? 

82.  What  allusion  to  nature  do  you  find  in  this  play? 


129 


^r    i-ALil-UHNIA-LOS    ANGELES 


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